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5B 

FEB  8  1933 


HANDBOOK 


OF 


AMERICAN 

MUSI0  AND  MUSI6IANS, 


CONTAINING 


Biographies  of  American  Musicians 


Histories   of  the    Principal    Musical   Institutions,    Firms 
and  Societies. 


EDITED     BY 


F.     O.    JONES 


CANASERAGA,    N.   Y.  : 
PUBLISHED    BY    F.    O.    JONES. 

1886. 


Copyright,  1886, 
By    F.   0.     JONES. 


PREFACE. 


I  deem  it  my  first  duty  to  apologize  to  my  friends  who  have  waited  so  long  and  so 
patiently  for  my  "Dictionary  of  American  and  Foreign  Music  and  Musicians"  (commenced 
in  1878),  which  they  had  every  reason  to  expect,  from  announcements  made  by  myself,  would 
be  published  ere  this.  Indeed,  it  was  my  own  expectation  at  one  time  that  it  would  be  pub- 
lished three  years  ago,  but  the  little  matter  of  finding  a  publisher  was  one  not  easily  accom- 
plished. The  merit  of  the  work  was  universally  conceded,  and  three  firms  were  only  dis- 
suaded from  undertaking  it  by  its  size,  (about  700  octavo  pages  like  these).  Last  autumn  I 
determined  to  publish  it  myself,  and  made  every  arrangement  to  that  effect.  At  the  very  last 
moment,  however,  for  good  and  sufficient  reasons,  I  substituted  this  little  volume  in  its  place, 
and  sincerely  hope  it  may  prove  useful  to  a  degree  far  in  excess  of  its  size. 

The  present  volume  contains  everything  relative  to  American  music,  musicians  (both  na- 
tive and  foreign  born),  and  musical  subjects,  which  had  been  prepared  for  the  larger  work. 
None  of  the  biographies  or  articles  have  been  amplified  or  even  changed.  In  every  case  has  it 
been  endeavored  to  give  exact  dates  and  facts,  and  to  correct  any  errors  which  may  have  pre- 
viously existed.  Much  of  the  information  was  derived  from  first  sources  by  correspondence. 
If  in  any  particular  it  is  incorrect,  I  will  be  glad  to  receive  notice  of  the  fact  from  those 
who  know  such  to  be  the  case.  It  will  also  give  me  pleasure  to  receive  a  copy  of  every  publi- 
cation making  any  allusion  to  or  criticism  of  my  work,  whether  adverse  or  commendatory. 

Undoubtedly  some  worthy  subjects  have  received  no  attention  in  these  pages.  This  may  be 
due  to  a  limited  reputation,  to  failure  to  gain  the  necessary  information,  even  after  the  most 
persistent  efforts,  or  to  an  oversight.  Whatever  deficiency  exists  in  this  respect  will,  if  pos- 
sible, be  remedied  in  a  second  edition.  Lengthy  articles  are  not  always  indicative  of  merit, 
nor  short  ones  indicative  of  the  reverse.  In  many  cases,  lack  of  information  has  made  the 
article  correspondingly  brief.  A  thousand  and  one  considerations  and  elements,  of  which  the 
casual  reader  may  never  dream,  enter  into  the  preparation  of  a  work  like  this. 

In  conclusion,  I  wish  to  tender  my  hearty  thanks  to  the  following  well-known  musical 
writers,  and  to  all  others  who  have  in  any  manner  assisted  me  in  my  arduous  task  :  Karl  Merz, 
Wooster,  Ohio;  C.  H.  Brittan,  Chicago;  Wm.  M.  Thoms,  New  York;  Wm.  B.  Tuthill, 
New  York;   E.  M.  Bowman,  St.  Louis;  E.  Eugene  Davis,  Cincinnati;   P.  J.  Smith,  Brooklyn. 

I  trust  that  at  no  very  far  distant  day  my  larger  and  complete  work  may  appear. 

THE  AUTHOR. 

CANASERAGA,  (Allegany  Co.,)  N.  Y.,  February  15,  1886. 


HANDBOOK 

OF 

American  Music  and  Musicians. 


Abbott,  Emma,  was  born  in  1850,  at  Chi- 
cago, where  her  father  was  a  music  teacher. 
From  the  first  she  exhibited  a  great  love  of 
music,  and  was  almost  constantly  singing  in 
her  childish  way.  In  1854  her  father  removed 
to  Peoria,  111.,  where  he  had  barely  pupils 
enough  to  keep  the  wolf  from  the  door. 
Miss  Emma  began  to  learn  the  guitar,  on 
which  she  soon  attained  so  much  skill  as  to 
attract  attention.  This  fact  and  her  constantly 
increasing  vocal  powers  led  her  father  to 
think  of  bringing  her  out  at  a  public  concert 
with  her  brother,  George,  which  he  did  with 
success.  At  that  time  she  was  nine  years  old. 
Encouraged  by  this  venture,  they  visited  and 
gave  hundreds  of  concerts  in  other  towns. 
At  sixteen,  in  order  to  keep  the  family  from 
want,  Emma  taught  district  school.  She  then 
started  on  a  concert  tour  in  Illinois,  unac- 
companied by  any  one.  At  Joliet  she  joined 
a  Chicago  opera  troupe,  but  when  the  troupe 
broke  up  she  found  herself  at  Grand  Haven, 
Mich.,  without  any  money.  With  great  Cour- 
age, however,  she  gave  concerts  and  gradually 
worked  her  way  to  New  York  City,  where 
she  managed  to  hear  Parepa-Rosa.  But  she 
failed  to  gain  any  recognition  in  that  grea 
metropolis,  and,  utterly  discouraged,  borrowed 
money  to  return  West.  She  then  tried  giving 
concerts  in  Chicago  and  Milwaukee,  but  with- 
out success.  Finally,  after  a  tour  of  some  oi 
the  small  towns,  she  arrived  at  Toledo,  <  >hio, 
and  gave  a  concert  in  the  parlors  of  the 
Oliver  House,  which  proved  a  failure.  At 
ihis     critical  juncture   she  met    Clara    Louise 


Kellogg,  who  was  so  well  pleased  with  her 
voice  that  she  sent  her  to  New  York.  This 
was  in  1870,  and  for  two  years  she  studied 
hard,  meanwhile  singing  in  Dr.  Chapin's 
Fifth  Avenue  Church.  In  May,  1872,  having 
previously  been  furnished  with  the  necessary 
means  by  a  few  of  her  friends,  she  went  to 
Milan,  and  studied  for  some  time  under  the 
best  masters  there.  She  then  went  to  Paris 
and  studied  under  Wartel,  with  whom  she 
remained  several  years.  After  completing 
her  education  she  was  offered  numerous  good 
engagements  in  Europe.  In  1880  she  returned 
lo  her  native  country,  and  was  well  received. 
She  has  since  sung  in  many  of  the  principal 
cities  here. 

Academy  of  Music,  New  York. 
This  is  not  an  institution  of  learning,  but  a 
large  building  used  for  concerts  and  dramatic 
representations.  It  was  opened  Oct.  2,  1854, 
with  a  production  of  "Norma,"  Grisi  and 
Mario  in  the  chief  idles.  In  1866  it  was 
destroyed  by  fire,  but  re-opened  in  February, 
1867.  The  Academy  of  Music,  Philadelphia, 
which  is  almost  equally  as  noted  as  that  at 
New  York,  was  opened  with  Mme.  Gazzaniga, 
Sig.  Brignoli,  and  Sig.  Amadio,  in  "II  Trova- 
tore,"  Feb.  26,  1857.  It  is  said  to  be  one  of 
the  finest  arranged  theatres  in  the  world. 

Adams,  Charles  R.,  tenor  singer,  was 
born  at  Charlestown,  Mass.,  about  1848,  and 
early  showed  great  musical  talent.  He  studied 
with  Mme.  Arnoult,  a  French  vocal  teacher 
at  Boston,  and  subsequently  with  Prof. 
Mulder,  a  French  gentleman,  whom  he  accom- 


HANDBOOK    <>F  AMERICAN    MUSIC   AND   MUSICIANS. 


panied  to  Europe.  At  Vienna  he  became  a 
pupil  of  Barbiere,  and  made  such  a  brilliant 
record  that  he  was  engaged  as  first  tenor 
at  the  Royal  Opera  House,  Berlin,  where  he 
remained  three  years.  The  ensuing  nine 
years  wen-  spenl  as  first  tenor  at  the  Imperial 
Opera  House,  Vienna.  Meanwhile  he  con- 
tinued his  studies  under  the  best  teachers  of 
Europe,  and  sang  in  opera  two  seasons  at 
Covent  Garden,  London ;  one  season  at  La 
Scala,  Milan,  and  one  at  the  Royal  Opera, 
Madrid,  besides  appearing  at  various  theatres 
throughout  Germany.  As  an  exponent  of 
Wagnerian  music  he  was  much  admired, 
rendering  the  roles  in  "Lohengrin"  and 
"Tannhauser"  in  a  manner  equaled  by  few 
artists.  Since  returning  to  this  country  he 
has  sung  one  season  in  German  opera  with 
Mme.  Pappenheim  and  one  season  in  Ital- 
ian opera  with  the  Strakosch  company.  In 
1879  he  settled  in  Boston,  where  he  is  still 
(Jan.,  1886)  located,  all  his  time  aside  from 
professional  engagements  being  taken  up  in 
teaching.  Mr.  Adams  is  not  only  a  line 
singer  but  a  good  actor,  his  impersonation  of 
Raoul  in  "Les  Huguenots"  and  Don  Jose  in 
"Carmen"  being  especially  excellent. 

AtlaillS,  L)R.  F.  W.  A  violin  maker, 
born  at  Montpelier,  Vermont,  in  1787.  Early 
in  life  he  turned  his  attention  to  the  making 
of  violins,  contending  that  the  ancient  Cre- 
monas  might  be  equaled,  providing  the  right 
kind  of  wood  in  the  right  condition  was  used. 
He  chiefly  employed  pine  and  maple,  taken 
from  old  and  thoroughly  seasoned  trees. 
During  his  life  he  completed  one  hundred 
and  forty  instruments,  which  brought  large 
prices.  Frequently  he  would  refuse  to  sell 
at  any  price.  His  violins  became  known  far 
and  wide  for  the  power  and  sweetness  of  their 
tone.      He  died  in  1859. 

Albani,  Marie  Louise  Emma  Cecilie, 
one  of  America's  most  noted  singers,  was 
horn    in    1851,    at   Chambly,   near  Montreal.* 


*  Moore's  Encyclopedia  of  Music,  page  5  of  the 
Appendix,  gives  the  year  of  her  birth  as  1850,  and 
the  place  as  PJattsburg,  N.  Y.,  with  which  most 
American  writers  agree.  It  appears  that  toe 
family,  after  leaving  Montreal,  first  removed  to 
I'lattsluirg,  where  a  stay  of  considerable  length 
was  ma  e,  and  from  there  to  Albany.  This  may 
account  for  the  conflicting  statements. 


I  ler  father,  Joseph  La  Jeunesse,  was  a  French 
Canadian,  and  her  mother  a  Scotch  lady. 
As  her  father  was  a  music  teacher,  she 
was  brought  up  in  a  musical  atmosphere. 
When  she  was  five  years  of  age  the  family 
removed  to  Montreal,  and  she  entered 
the  school  of  the  convent  of  the  Sacre 
Cceur,  where  she  remained  some  years.  In 
1864  the  family  went  to  Albany,  and  while 
studying  Emma  sang  in  the  choir  of  the  Cath- 
olic Cathedral.  Her  fine  voice  soon  began  to 
attract  attention,  and  her  father  was  urged  to 
take  her  to  Europe  that  her  voice  might  W 
suitably  cultivated.  The  necessary  funds 
were  raised  by  a  concert,  and  in  1868  she 
left  with  her  father  for  Europe.  At  Paris  she 
studied  for  eight  months  with  Duprez,  and 
then  proceeded  to  Milan,  where  she  studied 
for  some  time  with  Lamperti.  She  made 
her  debut  at  Messina,  in  "La  Sonnambula," 
having  previously  adopted  the  stage  name  of 
Albani  in  memory  of  the  city  where  her  musi- 
cal career  really  began.  Afterwards  she  sang 
at  Pergola  and  Florence,  and  made  her  first 
appearance  at  London,  at  Covent  Garden, 
April  2,  1872.  She  was  well  received  and 
soon  became  a  great  favorite  there.  The 
same  year  she  visited  Paris  and  sang  in  the 
Italian  Opera.  Returning  to  Milan  she 
continued  her  studies  under  her  former 
master.  In  1X73  she  again  sang  at  London, 
at  St.  Petersburg,  ami  during  the  winter  of 
1873-74  made  a  flying  visit  to  this  country. 
She  was  married  to  Ernst  Gye,  who  is  lessee 
of  Covent  Garden,  Aug.  6,  1878,  and  makes 
it  her  home  at  London.  Her  voice  is  a  light 
soprano,  sympathetic  in  quality,  and  especially 
effective  in  the  upper  register.  Her  princi- 
pal roles,  which  indicate  great  versatility  of 
talent,  are  Amina  in  "  Sonnambula,"  Mar- 
gherita  in  "Faust,"  Mignon,  Ophelia,  F.lsa  in 
"Lohengrin,"  Lucia,  Linda,  Gilda  in  "Rigo- 
letto,"  and  Elizabetla  in  "Tannhauser." 

Allen,  CHESTER  G.,  known  as  a  teacher, 
composer  and  musical  writer,  was  born  Feb. 
15,  1S38,  at  Westford,  Otsego  Co.,  N.  V.  He 
edited  or  compiled  several  collections  of 
music,  for  schools  and  churches,  containing 
many  pieces  of  his  own  composing,  some  of 
which  are  well  esteemed.  For  some  time  he 
was  editor  of  the  "  New  York  Musical  Ga- 
zette," now  defunct.  At  one  time  he  was 
also  teacher  of  music  in  the  public  schools  of 


HANDBOOK  OF   AMERICAN   MUSIC   AND   MUSICIANS. 


Cleveland,  Ohio.  He  died  at  Cooperstown, 
N.  Y.,  Oct.  18,  1878. 

American  Art  Journal  (The)  New 
York.  A  twenty-page  weekly  publication 
devoted  to  reviews  and  criticisms  of  music, 
art,  literature  and  the  music  trades.  It  was 
founded  in  1S63,  by  Henry  C.  Watson,  who 
was  for  a  long  time  its  editor  and  proprietor. 
At  present  (Jan.,  1886)  it  is  edited  by  Win. 
M.  Thorns.  ' 

American  College  of  Musicians. 

See  College  of  Musicians,  American. 
American    Harmony.      1.— A  col 

lection  of  hymn  tunes  compiled  and  published 
by  Daniel  Bailey  of  Newburyport,  Mass.  It 
was  issued  in  two  volumes,  the  first  of  which 
appeared  in  1769  and  the  second  in  I771- 
The  first  volume  contains  "A  new  and  correct 
Introduction  to  the  Grounds  of  Musik,  Rudi- 
mental,  Practical  and  Technical."  Both 
volumes  were  made  up  from  collections 
which  had  been  published  in  England. 

2. — A  similar  collection  was  published  in 
1792,  at  Charlestown,  Mass.,  by  Oliver 
Holden.  In  the  preface  the  author  says  :  "the 
whole  entirely  new,"  and  styles  himself  "a 
teacher  of  music  in  Charlestown,"  though  a 
carpenter  by  trade.  Some  of  the  tunes,  which 
were  harmonized  in  three  and  four  parts,  were 
undoubtedly  of  his  own  composing. 

3. — A  third  collection  bearing  the  same 
name  was  published  at  Philadelphia,  in  1801, 
by  Nehemiah  Shumway.  It  contained  220 
pages,  and  included  a  singers'  manual. 

AlllOClio,  ALESSANDRO,  born  at  Naples, 
in  1831,  was  a  fine  baritone  singer.  At  a 
very  early  age  he  was  taught  music,  learning 
the  Bute.  Becoming  enamored  of  the  stage 
and  failing  to  obtain  his  parents'  consent  to 
adopt  it  as  a  profession,  he  ran  away  from 
home  and  appeared  at  various  places,  earning 
considerable  reputation.  In  1855  he  came  to 
this  country  in  company  with  the  La  Grange 
opera  troupe,  and  traveled  throughout  the 
States.  He  afterwards  went  to  Cuba  and  sang 
in  the  Tacon  Theatre,  Havana,  and  to  Vene- 
zuela. Starting  to  return  to  New  York,  he 
was  taken  with  a  fever  and  died  on  the  sea 
near  Havana,  in  June,  1861. 

Alliodio,  FREDRICO,  brother  of  the  pre- 
ceding, was  born  at  Naples  in  1833.  He  also 
possessed  a  fine  baritone  voice,  and  achieved 
some  reputation  as  a  singer  in  his  native  coun- 


try. He  went  to  South  America,  and  was 
with  his  brother  when  he  died,  after  which  he 
came  to  this  country,  arriving  here  in  1861. 
The  Amodio  family  comprised  six  sons  and 
two  daughters. 

AnSChlltz,  Carl,  born  in  Germany 
about  1830,  came  to  this  country  in  1857. 
He  soon  became  prominently  identified  with 
its  musical  interests,  taking  a  leading  position 
among  our  musicians.  He  was  largely  en- 
gaged in  conducting  operas,  and  in  1861  was 
connected  with  the  Academy  of  Music  and 
the  National  Musical  Institute,  in  New  York. 
Mr.  Anschutz  came  to  the  United  States  at  a 
period  when  music  was  developing  into  a 
fresh,  vigorous  life,  and  did  much  to  aid  its 
growth,  for  which  he  will  long  be  remem- 
bered. This  excellent  man  died  at  his  resi- 
dence in  Boston,  January  23,  1870.  The  dis- 
ease which  hastened  his  end  was  cancer  of  the 
throat,  and  for  four  months  previous  to  his 
death  he  lived  entirely  on  fluids.  Only  the 
day  before  he  died  he  bit  his  wife's  finger  to 
indicate  his  great   hunger. 

ApollillO.  A  machine  or  instrument 
which  could  produce  the  sounds  of  twenty- 
eight  different  musical  instruments,  comprising 
a  whole  orchestra.  It  contained  25  flageo- 
lets, 25  clarinets,  25  imitations  of  birds,  4 
bugles,  8  French  horns,  and  other  instru- 
ments in  proportion,  which  could  be  played 
singly  or  all  together.  A  Mi.  Plimpton  was 
the  inventor,  and  it  was  first  exhibited  at  New 
York  and  Boston,  in  1820.  It  was  only  one 
of  the  numerous  attempts  to  combine  many 
instruments  into  one,  made  about  the  same 
time.  Its  name  was  changed  to  Plimptonia 
and  subsequently  to  Plimptortichord,  after  its 
inventor.  One  man  assisted  by  a  boy  could 
run   it. 

Appy,  Henri,  was  bom  at  Hague,  in 
1828.  He  was  the  oldest  son  of  John  Appy, 
w  hoheld  the  position  of  solo  violinist  to 
King  William  I.  of  Holland,  and  inherited 
all  his  father's  musical  talents.  Early  in 
life  he  went  on  conceit  tours  through  various 
countries.  He  was  appointed  solo  violinist 
to  William  II.  of  Holland,  in  1848,  and  in 
1850  gave  concerts  with  Mile.  Bertha  Johann- 
sen.  In  1851  he  came  to  this  countrv,  and 
soon  after  made  a  tour  of  the  States  in  company 
with  Mme.  Biscaccianti.  He  assisted  at  the 
Jenny    Lind    farewell    concerts.     In    1875  ne 


HANDBOOK    OF  AMERICAN   MUSIC  AND    MUSICIANS. 


was    residing    in     Rochester,     N.    Y.,     as    a 
teacher  and  conductor. 

ArbUCkle,  MATTHEW,  cornet  player, 
was  horn  at  Lochside,  near  Glasgow,  Scotland, 
in  1826.  At  the  age  of  thirteen  he  entered 
the  band  of  an  English  regiment,  which 
he  accompanied  to  China  during  the  first 
"opium  war"  and  to  India  during  the  Sikh 
war.  On  his  return  to  England  he  studied 
under  Wallace  and  Suckling,  making  very 
rapid  progress.  Soon  after  he  came  to 
the  United  States,  and  was  for  many 
years  the  leading  cornet  soloist  of  Gilmore's 
hand.  In  1869  he  greatly  distinguished  him- 
self at  the  great  Peace  Jubilee,  playing  the 
trumpet  part  while  Mme.  Parepa-Rosa  sang 
the  vocal  part  in  "  Let  the  bright  Seraphim." 
He  also  won  honors  at  the  second  Jubilee  in 
1872,  as  well  as  at  the  Centennial  Exhibition 
in  1870,  where  he  played  for  thirty  consecu- 
tive days.  During  the  summer  season  he 
usually  played  at  Coney  Island.  In  August, 
1880,  he  became  band-master  of  the  Ninth 
Regiment  band,  a  position  that  he  ably  filled 
until  his  death,  which  occurred  (from  pneu- 
monia) at  his  residence  in  New  York,  May  23, 
1883.  He  left  a  wife,  a  son  and  a  daughter. 
The  hitter,  Miss  Lizzie  Arbuckle,  is  a  promis- 
ing soprano. 

Arcadian  Symphony.    A  work  in  E 

minor,  by  George  F.  Bristow,  originally  in- 
tended as  the  introduction  of  a  cantata 
entitled  "The  Pioneers;  or,  Westward  Ho!  " 
Performed  by  the  Philarmonic  Society,  New 
York,  Feb.  14,  1874.  The  libretto  of  the 
cantata  was  written  by  Henry  C.  Watson,  for 
William  Vincent  Wallace,  who  had  sketched 
out  some  of  the  music  at  the  time  of  his 
death. 

Archer,  Frederic,  was  bom  June  16, 
1838,  at  Oxford,  England.  Strange  to  relate, 
lie  at  first  exhibited  a  positive  dislike  for 
music,  and  it  was  not  until  he  was  eight  years 
of  age  that  this  dislike  suddenly  gave  way  to 
an  intense  love  for  sweet  sounds.  His  father, 
an  excellent  musician,  now  taught  him  the 
elements  of  music,  and  in  the  short  space  of 
a  few  months  he  was  able  to  play  almost  any 
piece  within  the  scope  of  his  fingers  at  sight. 
in  1847  he  became  a  member  of  the  choir  of 
Margaret  Chapel  (now  All  Saints'  Church), 
London,  where  he  not  only  attracted  atten- 
tion by  his  fine  voice  but  by^frequently  assist- 


ing  the    organist.      He  returned  to  Oxford  in 
1S52.     Some  years   later  he   made  a  tour   in 
Europe.     On  his  return  he  was  appointed  or- 
ganist  of   the  Panopticon,  now  the  Alhambra 
theatre.      In    1859    he    married    Miss    Harriet 
Rothschild    (related    to   the   celebrated  finan- 
ciers  of  that  name),  who  was   his  pupil,  and 
for  several   years   thereafter  was   engaged    in 
conducting    and    giving    organ    recitals.     He 
became   organist    and     choirmaster    of   Christ 
Church,     London,    in    1864,    and    organist   of 
Alexandria    Palace  in  1873.      During   his  stay 
there  he  gave  no  less  than  2000  organ  recitals, 
but   did    not    repeat   a    program.      In    1877  he 
assumed    the    entire  musical   direction  of   the 
Palace.    Notwithstanding  the  additional  labors 
thus  imposed,  he  found  time  to  make  visits  to 
Glasgow  as  conductor,  giving  occasional  reci- 
tals.    In  1S80  he  organized  an  English  opera 
company    and    gave    performances  in  various 
cities  and  towns  with  good  success.      He  came 
to   this   country   in  1881  and  has  since  resided 
in  New  York. 

Mr.  Archer's  compositions  are  quite  numer- 
ous and  highly  esteemed.  Besides  bis  organ 
pieces  and  arrangements,  he  has  written  two 
operas,  some  orchestral  works,  and  consider- 
able church,  vocal,  and  piano  music.  As  an 
organist  he  has  complete  control  of  his  instru- 
ment and  a  wonderful  faculty  of  sight 
playing. 

Archers,  The  ;  or,  The  Mount  uneers 
of  Switzerland.     Probably  the  first  Ameri- 
can opera  ever  composed.      The  words  are  by 
William     Dunlop ;     the     music    by     Benjamin 
Carr.      First     produced     at     the     John     Street 
Theatre,    New    York,    April    18,    1756.     The 
opera  is  founded  on  the  story  of  William  'Pell. 
Amheini.      One  of  the  few  tunes  which 
have  survived  from  the  days  of  the  New  Eng- 
land psalm  singer,  being  still  much  used.      It 
was  composed   by   Samuel    Holyoke    when    he 
was  but  fourteen    years   old    (1785),  and    was 
the  last  tune  he  sang  before  his  death  in  1816. 
In  all  probability  it  was  first  published  in  his 
collection  of  sacred  music,  "Harmonia  Amer- 
icana," which  appeared  in   1791.      See  HAR- 
MONIA Americana;  also,  Holyoke,  Samuel. 
Arnheni,    Mile.,    whose    real    name  is 
Kate    Larimer    James,    is    the  daughter  of 
Judge   James   of   Council    Bluffs,    Iowa.      She 
was  born  there  about  1862.      Her  mother  was 
a    Van    Arnhem,    born    in    Holland,   and    this 


HANDBOOK    OF    AMERICAN    MUSIC  AND   MUSICIANS. 


name  she  adopted  upon  going  upon  the  stage. 
Early  in  1880  she  went  to  Paris  and  became  a 
pupil  of  Mme.  La  Grange.  During  her  studies 
she  memorized  fifteen  operas.  She  then 
went  to  London  and  studied  ballad  singing 
with  Randegger.  In  1881  she  sang  for  Wil- 
helmj  during  his  tour,  and  was  frequently 
heard  in  the  salons  of  ex-Queen  Isabella  of 
Spain  at  Paris.  In  the  Spring  of  1882  she 
appeared  in  the  role  of  Marguerite  at  the 
Mechanics'  Building,  Boston,  under  Stra- 
kosch's  management.  Since  then  she  has 
filled  operatic  engagements  in  Europe  and 
this  country.  Her  voice  is  a  pleasing  one, 
and  her  enunciation  clear  and  distinct. 

Aronson,  Rudolph,  was  born  in  1856, 
at  New  York  City.  At  an  early  age  he  stud- 
ied music  under  Leopold  Meyer,  then  at 
Berlin,  and  finally  at  the  Paris  Conservatoire 
under  Emile  Durand,  where  he  became  well 
versed  in  harmony,  counterpoint,  and  instru- 
mentation. After  returning  to  New  York  he 
became  prominently  connected  with  musical 
affairs  there.  He  has  for  several  years  con- 
ducted an  orchestra  of  fifty  performers,  and 
given  concerts  after  the  manner  of  Strauss, 
Arban  and  Gung'l.  Metropolitan  Concert 
Hall  and  The  Casino  were  his  projections  and 
in  a  large  measure  due  to  his  efforts.  His 
compositions  are  quite  numerous.  Among 
the  most  popular  are  "Sweet  Sixteen,"  a 
waltz  written  expressly  for  the  celebrated 
cornet  soloist,  J.  Levy;  "  The  Marche  Tri- 
omphale  ;"  "Fete  au  Village,"  a  fantasie;" 
"Mazurka  Melodique,"  "  Dwothy  Waltz," 
and      "  Jockey    Galop."     He    is    at    present 


(Jan.,  1883)   engaged  on   an  operetta,    "Cap- 
tain Kidd,"  to  be  produced  in  the  spring. 

Arthur,  Alfred,  was  born  Oct.  8,  1844, 
near  Pittsburgh,  Pa.  When  he  was  quite 
young  his  parents  removed  to  Mansfield,  O., 
where  he  began  the  study  of  music.  From 
1861  to  1864  he  served  in  the  army,  the  latter 
two  years  in  the  capacity  of  leader  of  the 
Eighth  Brigade  Band,  under  the]command  of 
General  Hayes.  At  the  close  of  the  war  he 
went  to  Boston  to  perfect  his  musical  educa- 
tion, studying  at  the  Boston  School  of  Music 
and  under  private  teachers,  among  whom  was 
Julius  Eichberg.  In  1870  he  settled  in  Cleve- 
land, Ohio,  as  leader  of  the  Germania  Orches- 
tra and  chorister  of  Trinity  Church.  The 
latter  position  he  soon  resigned  to  accept  a 
similar  one  at  the  Euclid  Avenue  Baptist 
Church,  where  he  remained  seven  years, 
when  he  became  leader  of  the  Bach  Choir  at 
the  Woodland  Avenue  Presbyterian  Church, 
of  which  he  still  (Jan.,  1884)  has  charge. 
He  is  also  conductor  of  The  Cleveland 
Vocal  Society  and  other  musical  organiza 
tions,  and  had  charge  of  the  Cleveland  May 
Festival  forces  in  1880  and  1882.  Mr.  Arthur 
has  been  very  successful  as  a  vocal  teacher  as 
well  as  a  conductor.  Among  his  more  noted 
pupils  are  Mrs.  Berdie  Hale-Britton  and  Miss 
Dora  Henninges.  His  compositions  are  not 
very  numerous.  Of  the  larger  and  m  ^re  im- 
portant are  the  operas  of  "  The  Water  Car- 
rier," first  produced  at  Cleveland  during  the 
winter  of  1872-73;  "Cavaliers  and  Round- 
heads," and    "Adeline." 


Bach  Society,  The,  Cleveland,  0., 
was  formed  about  1878.  The  chorus  consists 
of  some  eighty  voices,  with  a  string  band  of 
twelve  pieces  and  an  organ.  The  third  an- 
nual concert  was  given  Dec.  7,  1882.  Though 
young,  the  society  is  an  important  factor  in 
the  musical  affairs  of  the  city.  It  forms  the 
choir  of  the  Woodland  Avenue  Presbyterian 
Church,  and  is  one  of  the  best  models  of 
chorus  choirs  in  the  United  States.  At  present 
(Jan.,  1884)  Alfred  Arthur  is  conductor,  Miss 
F.  J.  Hopkins  organist  and  J.  H.  Amme 
orchestral   leader. 

Baeriliami,  Cakl,  was  born  in  Bavaria, 
in  1839.  He  descended  from  a  very  eminent 
musical  family  and  began  his  studies  in  the 
Conservatorium  at  Munich  in  1850.  In 
1857  he  spent  several  months  with  Liszt. 
For  some  time  after  this  he  quietly  devoted 
himself  to  teaching,  marrying  Beatrice  von 
Dessauer  in  1864.  Upon  the  formation  of  the 
Royal  School  of  Music  at  Munich,  in  1867, 
he  was  appointed  a  professor  of  piano  play- 
ing. In  1876  he  was  made  royal  professor  by 
the  King  of  Bavaria.  Some  time  since  he 
came  to  this  country  and  made  his  d3ut  as  a 
pianist  at  a  concert  of  the  Philharmonic  Socie- 
ty, Boston,  playing  Beethoven's  fourth  con- 
certo. He  is  at  present  (1883)  a  resident  of 
Boston. 

Bailey,  Thomas  and  Daniel,  were  pub- 
lishers and  composers  of  music  at  Newbury- 
port,  Mass.  Thomas  republished  a  portion  of 
a  work  by  Wm.  Tansur  (English)  in  1755, 
entitled  "A  Complete  Melody,  in  Three 
Parts."  It  contained  about  one-third  as  much 
as  the  English  work.  In  1764  Daniel  Bailey 
and  John  W.  Gilman,  an  engraver  of  Exeter, 
N.  H.,  published  a  small  work  entitled  "A 
New  and  Complete  Introduction  to  the 
Grounds  and  Rules  of  Music,  in  Two  Parts." 
In  the  first  part  was  an  introduction  to  the  art 
of  singing  by  note,  taken  from  a  work  by 
Thomas  Walter,  A.  M.,  and  in  the  second 
part  a  new  and  correct  introduction  to  the 
grounds  of  music,  rudimental  and  practical, 
taken  from  Wm.  Tansur's  "Royal  Melody." 


The  work  contained  in  all  thirty-four  tunes, 
arranged  in  three  parts,  for  soprano,  bass  and 
tenor.  Three  editions  were  issued,  appar- 
ently from  the  same  plates  but  with  different 
title  pages  and  introductions,  one  for  Bulkly 
Emerson  and  one  for  Mr.  Bailey,  at  Newbury- 
port,  and  one  for  Mascholl  Williams,  at  Salem, 
Mass.  Mr.  Bailey's  edition  contained  fourteen 
additional  tunes.  In  1769  Daniel  Bailey 
published  a  work  entitled  "Universal  Har- 
mony," selected  from  Tansur's  "Psalmody" 
and  "Psalmody  Evangelica"  by  Thomas 
Williams.  The  tunes  in  this  were  also 
in  three  parts.  The  Baileys  are  said  to 
have  published  other  works  containing 
church  tunes  (always  largely  selected  from 
English  works),  but  no  satisfactory  trace  of 
them  can  be  found. 

Baker,  Benjamin  Franklin.  Born  at 
Wenham,  Mass.,  July  io,  181 1.  When  a 
young  man  he  removed  to  Salem,  and  in  183 1 
commenced  teaching  music.  In  1833  he 
traveled  throughout  the  country  as  a  member 
of  a  concert  company.  After  this  he  studied 
with  John  Paddon,  Boston,  where,  in  1839, 
he  became  musical  director  of  Dr.  Channing's 
church,  a  position  which  he  retained  eight 
years.  In  1841  he  began  holding  what  were 
termed  musical  conventions,  and  soon  after 
was  appointed  vice-president  of  the  Handel 
and  Haydn  Society  of  Boston,  holding  the 
office  six  years.  Commencing  with  1842,  he 
for  six  years  was  superintendent  of  musical 
instruction  in  grammar  schools  of  the  city. 
He  subsequently  became  editor  of  the  "  Bos- 
ton Musical  Journal,"  and  principal  of  the 
Boston  Music  School,  which  was  incorporated 
in  1857.  Since  that  time  Mr.  Baker  has 
resided  in  Boston,  devoting  most  of  his  time 
to  teaching,  in  which  he  has  been  very  suc- 
cessful, consequently  his  works  are  compara- 
tively few.  Among  them  are  the  "  Burning 
Ship,"  "  Storm  King,"  and  several  other 
I  secular  cantatas.  He  has  also  written  a  treat- 
ise o*  thorough-bass  and  harmony,  which  is 
published  by  O.  Ditson  &  Co.,  of  Boston,  in 
1  vol.  8vo.  112  pp.  1870. 


HANDBOOK    OF    AMERICAN    MUSIC   AND    MUSICIANS. 


Balatka,  Hans,  was  born  at  Hoffnungs- 
thal,  Moravia,  Austria,  March  5,  1827.  He 
began  his  musical  studies  as  choir-boy  in  the 
Olmiitz  cathedral.  When  sixteen  years  old, 
his  parents  being  in  comfortable  circum- 
stances, he  was  sent  to  Vienna  to  study  law. 
However,  he  continued  his  musical  studies 
under  Proct  and  Sechter,  and  made  such 
progress  that  in  a  year  he  was  able  to  give 
some  concerts.  The  Revolution  of  1848 
drove  him,  as  it  did  many  others,  to  seek 
some  other  country,  and  after  a  short  time 
spent  in  Dresden  and  Hamburg  he  sailed  for 
New  York,  where  he  arrived  in  June,  1849. 
Without  making  more  than  a  temporary  stop, 
he  proceeded  on  to  Milwaukee,  Wis.  There 
he  organized  in  the  same  year  the  Milwaukee 
Musikverein  (musical  society)  and  became  its 
first  conductor,  a  position  which  he  retained 
ten  years  (See  Milwaukee  Musikveretn). 
About  i860  he  was  invited  to  Chicago  to 
bring  out  Mozart's  "Requiem,"  and  since 
then  that  city  has  been  his  home.  His 
activity  is  unceasing.  He  has  held  position 
as  leader  of  various  English  and  German 
societies,  and  has  often  conducted  the  German 
Saengerfests.  In  1869  he  produced  the  "Cre- 
ation" at  Chicago,  with  Mme.  Parepa-Rosa 
as  soloist,  and  in  1870  the  "Messiah," 
besides  repeating  the  "Creation"  with 
Nilsson  as  soloist.  Mr.  Balatka  is  a  good 
composer,  and  an  excellent  performer  on  the 
double-bass,  violoncello,  violin,  guitar,  and 
piano.  His  composition  "The  Power  of 
Song"  gained  for  him  the  silver  goblet 
offered  as  a  prize  by  the  Ssengerbund  held  at 
Cincinnati  in  1856.  He  has  written  besides 
several  concertos,  arias,  songs,  etc. 

Barns,  Carl,  was  born  Oct.  12,  1823, 
at  Schuegast,  Prussian  Silesia.  In  1838  he 
went  to  Brieg,  where  he  took  lessons  of 
Forster  the  organist  and  of  Cantor  Fischer. 
Three  years  later  he  was  at  Breslau,  studying 
harmony  under  .  E.  Richter  and  the  organ 
under  A.  Hesse.  He  came  to  this  country 
in  1849,  landing  at  New  York,  but  soon  went 
to  Saginaw,  Mich.,  where  he  engaged  in  farm- 
ing. The  love  of  music  was  too  strong, 
however,  and  he  soon  relinguished  this  and 
went  to  Cincinnati,  where  he  was  organist 
of  the  St.  Philomena  Church  and  later  of  St. 
Patrick's.  For  over  twenty  years  he  also 
officiated  at  the  Jewish  Temple.     He  has  been 


director  at  various  times  of  the  principal 
musical  societies  of  the  city.  The  following 
meetings  of  the  North  American  Ssengerbund 
were  conducted  by  him  :  The  sixth,  at  Can- 
ton, O.,  1854;  the  thirteenth,  nt  Columbus, 
0.,  1865;  the  fifteenth,  at  Indianapolis,  Ind., 
1867  ;  the  twentieth,  at  Louisville,  Ky.,  1877  ; 
and  the  twenty-first,  at  Cincinnati,  1879.  At 
the  meetings  of  the  Indiana  Soengerbund  he 
conducted  in  1858-59-60-68.  During  his  long 
residence  at  Cincinnati,  Mr.  Barus  did  much 
towards  its  musical  prosperity  by  his  indefatig- 
able labors.  He  is  now  located  at  Indianap- 
olis, Ind.  Of  his  numerous  compositions 
none  have  as  yet  been  published. 

Bassford,  William  K.,  was  born  in 
New  York,  April  23,  1839,  and  early  gave 
unmistakable  evidence  of  his  musical  talents. 
His  first  teacher  in  harmony  and  composition 
was  Samuel  Jackson,  an  excellent  musician 
and  for  some  time  organist  of  St.  Bartholo- 
mew's Church,  New  York.  While  still 
young  he  traveled  quite  extensively  with  a 
concert  troupe  as  pianist.  Not  liking  this 
mode  of  living  and  finding  that  it  deprived 
him  of  the  time  necessary  for  study,  he 
abandoned  it  and  settled  in  New  York  as 
teacher  and  composer,  and  is  still  (Dec,  1885) 
located  there.  He  has  been  very  successful 
as  a  piano  teacher,  and  some  of  his  pupils 
have  become  brilliant  players.  But  he  is, 
perhaps,  best  known  by  his  songs,  of  which  a 
large  number  have  been  issued.  His  piano 
compositions  are  mostly  salon  and  character- 
istic pieces.  Among  them  are  "Devotion," 
"Young  Maiden  and  Flowers,"  "Meditation," 
"Morning  Song,"  "Tranquility,"  and  "Hunt- 
er's Song,"  all  displaying  more  or  less  talent 
and  ability.  His  sacred  music  consists  of  a 
mass  in  E  flat  and  some  other  church  pieces. 
He  has  written  a  two-act  opera,  "Cassilda," 
which  is  founded  on  a  Spanish  subject  and 
contains  some  fine  numbers.  He  was  also 
engaged  by  Mme.  Wallace  to  complete  the 
opera  of  "Estrella,"  left  unfinished  by  Vincent 
Wallace. 

Baumbach,  ADOLPH,  was  born  in 
Germany,  but  when,  we  have  been  unable  to 
ascertain,  though  probably  about  1830.  He 
came  to  this  country  when  a  young  man,  and 
was  located  in  Boston  as  early  as  1855. 
Afterwards,  about  1863,  he  went  to  Chicago, 
where  he  resided  during  the  rest  of  his  life. 


HANDBOOK    OF    AMERICAN  MUSIC    AND   MUSICIANS. 


He  was  a  teacher  of  the  piano  and  organ,  a 
good  player,  and  composed  considerable 
music,  especially  teaching  pieces  for  the 
piano.  He  was  also  the  compiler  of  a  popular 
collection  for  quartet  choirs.  His  death 
occurred  some  time  in  1880,  at  Chicago. 

Baxter,  Lydia,  was  bom  Sept.  2,  1800, 
at  Petersburg,  Rensselaer  Co.,  N.  Y.  She 
is  known  as  a  poetess  of  considerable  grace 
and  beauty.  Many  of  her  hymns  for  the 
church  and  Sunday  school  have  become  very 
popular.  Her  well-known  hymn,  "Gates 
Ajar,"  has  been  sung  in  every  Christian  land, 
and  is  one  of  the  jewels  of  hymnology.  She 
died  in  New  York,  June  23,  1874. 

Bay  State  Psalm  Book.  A  col- 
lection of  psalms  and  hymns,  edited  by 
several  Puritan  clergymen.  It  was  published 
at  Cambridge,  Mass.,  in  1640,  and  was  the 
second  book  produced  by  the  American 
Colonies.  Some  changes  were  made  and  a 
second  edition  issued  in  1646.  An  edition, 
revised  and  greatly  improved  by  a  number  of 
New  England  ministers,  among  whom  were 
Welde,  Eliot  of  Roxbury,  and  Mather  of 
Dorchester,  appeared  in  1691.  The  work 
was  printed  in  clear,  new  type,  imported 
expressly  for  the  purpose,  by  Stephen  Daye, 
and  in  all  passed  through  more  than  seventy 
editions.  It  was  republished  in  London, 
England,  in  1737,  and  in  Scotland  in  1738. 
It  would  appear  that  Henry  Dunster  had  charge 
of  the  musical  portion  of  the  collection,  which 
was  sometimes  known  as  the  "New  England 
Version." 

Beckel,  James  C,  a  popular  American 
composer,  was  born  in  Philadelphia,  Dec.  20, 
181 1,  his  father  being  a  German.  When  only 
13  years  old  he  was  able  to  take  his  father's 
place  as  organist  at  one  of  the  churches  in  the 
city.  For  eighteen  years  he  was  organist  in 
a  P.  E.  church  of  Germantown  (now  a  part  of 
Philadelphia).  In  1847  he  became  organist  of 
the  Clinton  street  Emanuel  church  (Presbyter- 
ian), a  position  which  he  held  until  1858.  In 
1875  he  was  tendered  the  position  again,  which 
he  now  (1883)  holds.  At  various  times  dur- 
ing his  long  career  he  has  been  organist  of 
many  of  the  principal  churches  of  his  native 
city,  always  acquitting  himself  with  great 
credit. 

Mr.  Beckel  has  written  a  great  number  of 
compositions,   both  sacred  and  secular,  many 


of  which  remain  in  manuscript.  Among  his 
more  important  works  are  the  cantatas  of  the 
"Pilgrim's  Progress,"  "The  Nativity,"  and 
"Ruth."  The  "Psalter"  is  a  choice  collec- 
tion of  music  for  the  church.  His  latest  work 
is  a  method  for  the  organ,  published  by  Lee  & 
Walker,  which  is  being  received  with  great 
favor.  O.  Ditson  &  Co.,  of  Boston,  and  Lee 
&  Walker  of  Philadelphia,  are  the  principal 
publishers  of  his  music.  Although  Mr.  Beckel 
is  well  advanced  in  years,  he  is  still  active, 
and  will  probably  live  to  accomplish  consid- 
erable more  in  the  musical  line. 

Beethoven's  Conservatory  of 
Music,  St.  Louis,  Mo.  This  institution 
was  founded  in  the  fall  of  1871,  by  a  few 
gentlemen  desirous  of  cultivating  a  taste  for 
music  in  that  city.  Five  months  later,  it  was 
bought  of  them  by  August  Waldauer  and 
Herman  Lawitzky,  who  respectively  had 
charge  of  the  violin  and  the  piano  depart- 
ments. Under  this  excellent  directorship  the 
opening  season  was  attended  with  success. 
The  faculty  comprised  some  of  the  best  resi- 
dent musicians,  and  the  Conservatory  soon 
became  popular.  Since  the  death  of  Mr. 
Lawitzky,  which  occurred  in  1874,  it  has  been 
under  the  sole  management  of  Mr.  Waldauer, 
who  has  maintained  its  previous  good  reputa- 
tion. There  have  been  engaged  as  teachers 
at  various  times,  De  Compi,  Tamburello, 
Goldbeck,  Hanchett,  and  others  equally  well 
known.  A  series  of  soirees  and  concerts  are 
given  by  the  pupils  during  each  season,  and 
a  number  who  were  thus  first  introduced  to 
the  public  are  now  acknowledged  artists. 

Belsliazzar.  An  "American  opera" 
in  five  acts.  Music  by  James  A.  Butterfield. 
First  produced  in  187 1,  since  when  it  has 
been  given  more  than  350  times  in  different 
parts  of  the  country,  under  the  direction  of 
the  composer. 

Berg"lliann,  Karl,  well  known  in  this 
country  as  a  violoncellist  and  conductor,  was 
born  in  1821,  at  Ebersbach,  Saxony,  and 
came  to  the  United  States  with  the  Germania 
orchestra  in  1850.  In  1857  he  removed  to 
New  York,  where  he  became  conductor  of 
the  Philharmonic  Society,  the  Arion,  and 
occupied  a  leading  place  in  musical  affairs. 
Toward  the  end  of  life  he  became  very  des- 
pondent, and  was  eventually  forsaken  by 
nearly   all   his  former  friends.     He  died  in  a 


HANDBOOK    OF   AMERICAN  MUSIC   AND    MUSICIANS. 


German  hospital,  New  York,  Aug.  10,  1876. 
Among  his  compositions  are  some  orchestral 
pieces. 

Berge,  William.  An  organist,  pianist. 
teacher,  and  composer,  native  of  Germany, 
who  came  to  this  country  in  1846,  and  from 
that  time  chiefly  resided  at  New  York.  He 
was  noted  for  the  number  of  his  arrangements, 
transcriptions,  etc.,  and  for  his  abilities  as  a 
performer.  His  death  occurred  at  New  York, 
in  March,  1883. 

Betlimie,  Thomas  Green.  See  Blind 
Tom. 

Bergner,  Frederic,  violoncellist,  was 
born  at  Donaiischingen,  Baden,  Germany,  in 
1827,  and  studied  with  C.  L.  Bohm  and  Kal- 
liwoda.  In  1849  ^e  came  to  the  United 
States,  and  settled  in  New  York,  which  has 
since  been  his  home.  For  several  years  he 
was  violoncellist  of  the  "  Eisfeld  Quartet," 
and  afterwards  of  the  "Mason-Thomas  Quartet 
Soirees."  He  is  at  present  member  and  one 
of  the  directors  of  the  Philharmonic  Society. 
As  a  player  he  possesses  a  fine  technique,  and 
is  noted  for  the  full,  round,  pure  tone 
which  he  produces. 

Bial,  Rudolf,  was  born  Aug.  26,  1834, 
at  Habelschwerdt,  Silesia.  His  musical  edu- 
cation was  obtained  at  Breslau,  and  when 
only  fifteen  years  old  he  became  first  violinist 
of  the  orchestra  at  the  stadt  theatre.  For 
many  years  he  labored  in  the  opera  at  Berlin, 
and  was  instrumental  in  bringing  out  several 
first  class  artists  there,  among  them  Adelina 
Patti.  In  1879  he  came  to  this  country,  taking 
charge  of  the  orchestra  at  Koster  &  Bial's, 
New  York,  and  to  his  efficiency  and  good 
judgment  much  of  the  success  of  the  concerts 
is  due.  In  1880  he  became  conductor  at  the 
Thalia  theatre,  and  reorganized  the  orchestra 
there.  During  the  summer  of  18S1  he  gave 
a  series  of  concerts  at  Metropolitan  hall,  which 
were  very  popular.  Mr.  Bial  was  an  excellent 
conductor,  and  understood  as  few  do  how  t<> 
prepare  and  make  attractive  a  concert  pro- 
gram.     He  died  in  New  York,  Nov.  23,  1881. 

Biddle,  Horace  P.,  was  born  in  181 1, 
near  Logan,  Ohio,  his  father  being  one  of  the 
pioneers  of  the  West.  His  early  education 
was  a  limited  one,  but  by  close  application  and 
dilligence  he  has  since  become  well  versed  not 
only  in  the  various  arts  and  sciences,  but  in 
Latin,    French  and  German.     He   decided  to 


follow  the  profession  of  law,  and  in  1839  was 
admitted  to  practice  at  the  bar.  Between  this 
time  and  1874  he  was  elected  to  various  offices. 
In  the  latter  named  year  he  became  judge  of 
the  Supreme  Court  of  Indiana,  and  now 
resides  at  Logansport.  Though  not  a  profes- 
sional musician,  Mr.  Biddle  has  devoted  much 
of  his  leisure  time  to  cultivating  the  art,  and 
written  numerous  essays  on  musical  subjects. 

Big-low  &  Main,  New  York  City. 
A  music  publishing  firm,  well-known  in  the 
United  States,  formed  Feb.  15,  1868,  by 
L.  H.  Biglow  and  Sylvester  Main,  as  succes- 
sors to  William  B.  Bradbury.  Mr.  Main  died 
Oct.  5,  1873,  a"d  the  business  has  since 
been  carried  on  by  the  surviving  partner, 
L.  H.  Biglow,  under  the  old  name.  The  firm 
does  not  publish  sheet  music,  but  confines 
itself  exclusively  to  books  of  music,  largely 
of  sacred  music.  They  are  in  part  publishers 
of  the  "Gospel  Hymns,"  by  Bliss  and  Sankey, 
and  have  issued  many  popular  collections  of 
music.  They  are  very  successful,  and  have 
sold  the  almost  incredible  number  of  18,000,- 
000  copies  of  their  various  publications. 
Since  the  agitation  of  the  "Tonic  Sol-fa" 
question,  they  have  become  the  principal 
publishers  of  this  system  in  America. 

Billings,  William,  is  the  first  native- 
born  American  composer  who  can  justly  lay 
claim  to  the  title.  Previous  to  his  time  the 
Colonies  had  no  music,  except  a  few  old 
tunes  imported  from  England.  He  was  born 
at  Boston,  Oct.  7,  1746.  His  early  education 
was  very  limited.  While  still  young  he 
showed  his  inclination  for  music,  a  knowl- 
edge of  which  he  picked  up  by  degrees,  for 
music  was  then  little  cared  for  and  far  still  less 
understood.  Being  entirely  self-taught,  his 
knowledge  was  both  limited  and  very  imper- 
fect. Counterpoint  was  something  he  had  no 
idea  of,  and  he  could  have  known  but  very 
little  if  anything  about  harmony,  as  his  earlier 
pieces  transgress  the  fundamental  rules. 
Accent  and  rhythm  were  also  disregarded. 
But  we  must  remember  the  time  when  Bil- 
lings lived  and  the  circumstances  under  which 
he  wrote.  Though  incorrectly  constructed, 
his  pieces  give  evidence  of  considerable 
musical  genius,  and  form  a  pleasing  con- 
trast to  the  old  English  tunes  then  in  use,  being 
full  of  life  and  vigor.  Later  in  life  he  wrote 
more   correctly,  while  his  pieces  lost  nothing 


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in  freshness.  So  popular  did  his  music  | 
become,  it  was  sung  to  the  exclusion  of 
almost  everything  else,  consequently  he  had 
many  weak  imitators.  He  wrote  six  works  or 
collections  of  music,  the  first  of  which  was 
"The  New  England  Psalm  Singer,"  published 
Oct.  7,  1770.  This  was  followed  by  "  The 
Singing  Master's  Assistant,  "  an  abridgement 
of  his  first  work,  published  in  1778;  "Music 
in  Miniature,"  published  in  1779,  and  contain- 
ing 74  tunes,  31  of  which  were  given  to  the 
public  for  the  first  time  ;  "The  Psalm  Singer's 
Amusement,"  published  in  1781  ;  "The  Suf- 
folk Harmony,"  published  in  1786,  and  "The 
Continental  Harmony,"  published  in  1794. 
These,  with  some  anthems,  "  Except  the  Lord 
build  the  house,"  "  Mourn,  mourn,  ye  saints," 
"  The  Lord  is  risen  from  the  dead,"  "Jesus 
Christ  is  risen  from  the  dead,"  etc.,  comprise 
all  of  his  music  that  has  been  published.  In 
the  collections  named  above  the  tunes  were, 
with  few  exceptions,  his  own.  Some  of  them 
still  live,  "Aurora"  and  "Majesty"  being 
frequently  sung  at  the  present  day. 

Billings  may  justly  be  considered  as  the 
founder  of  American  church  music,  and 
though  his  efforts  appear  humble  in  compari- 
son with  those  of  the  present  day,  with  him 
dawned  an  era  which  has  ever  grown  bright- 
er and  which  has  not  yet  had  its  fulfillment. 
He  died  in  Boston,  Sept.  26,  1800. 

Biscaccianti,  Signora,  (whose  maiden 
name  was  Ostinelli),  was  born  at  Boston,  Mass., 
in  1825.  Her  father,  Louis  Ostinelli,  an  Ital- 
ian, resided  for  many  years  in  Boston,  where 
he  was  leader  of  the  principal  orchestras,  and 
her  mother  was  a  New  York  lady-  She  early 
manifested  a  love  for  music,  possessing  a  won- 
derful voice.  A  subscription  was  raised,  and 
in  1843  sne>  i°  company  with  her  father,  went 
to  Italy  for  the  purpose  of  studying.  She  was 
brought  to  the  notice  of  Pasta,  from  whom  she- 
received  instruction  for  some  time,  and  subse- 
quently was  a  pupil  of  Vaccai,  Nani,  and 
Lamperti.  In  May,  1847  (previous  to  which 
she  had  been  married),  she  made  her  dilntt  at 
the  Carcano  theatre,  Milan,  in  "  Ernani." 
She  returned  home  in  the  summei  of  the  same 
year,  and  sang  in  many  of  the  principal  cities 
here  with  great  success.  Afterward  she  made 
a  trip  to  Europe,  where  she  was  well  received. 
In  1853  or  1854  she  was  in  California,  and 
subsequently  sang  in  various  parts  of  the  coun- 


try. Her  later  history  we  have  been  unable 
to  learn,  except  that  she  is  now  a  resident  of 
Rome. 

Bishop,  ANNA,  born  in  1814,  wife  of 
Sir  H.  R.  Bishop,  whom  she  married  in  1832, 
was  educated  at  the  Royal  Academy  of  Music, 
London,  and  made  her  first  appearance  in  that 
citv,  July  5,  1.830.  She  soon  after  went  on  a 
tour  through  the  principal  countries  of  Europe, 
which  extended  down  to  1843.  From  this 
time  until  1846  she  remained  in  Italy,  and 
was  at  one  time  prima  donna  at  the  San  Carlo, 
Naples.  After  her  stay  in  Italy  she  returned 
to  England,  but  in  1847  came  to  this  country, 
remaining  here  until  1855,  when  she  sailed 
for  Australia.  She  then  again  made  a  brief 
visit  to  England,  and  in  1859  came  to  this 
country  for  the  second  time.  Her  stay  was 
prolonged  to  1866  (with  a  brief  visit  to  Mexico 
and  Cuba),  when  she  sailed  for  the  Sandwich 
Islands,  visited  China,  India,  Australia, 
Egypt  and  England,  arriving  in  the  United 
States  again  about  1869.  During  all  her 
wanderings  down  to  1855  she  was  accompanied 
by  Bochsa,  the  eminent  harpist,  with 
whom  she  ran  away  from  her  husband.  Her 
success  in  this  country,  though  nothing  phe- 
nomenal, has  been  uniform  and  decided. 
To  recount  all  her  wanderings  or  give  any- 
thing like  a  complete  history  of  her  life  would 
fill  volumes.  No  singer  that  ever  lived 
traveled  so  much  or  sang  before  so  many 
people.  She  visited  nearly  every  country  on 
the  globe,  and  the  most  of  them  repeatedly. 
In  1858  she  married  Martin  Schultz,  an 
American  gentleman,  and  made  it  her  perma- 
nent home  at  New  York.  She  died  there 
March  18,  1884,  from  a  stroke  of  apoplexy. 
Her  last  public  appearance  was  at  a  concert  in 
New  York  city  in  the  spring  of  1883.  Her 
voice  was  remarkably  well  preserved  for  one 
so  far  advanced  in  years  and  she  retained  some 
of  her  youthful  appearance.  No  doubt  if  her 
biography  were  written  it  would  prove  very 
interesting. 

Blake,  Charles  D.,  a  popular  American 
composer,  was  born  at  Walpole,  Mass.,  in  1847. 
At  the  age  of  seven  years  he  commenced  the 
study  of  music,  and  at  ten  produced  his  first 
composition,  after  which  his  progress  was  very 
rapid.  He  has  been  a  pupil  of  J.  K.  Paine, 
J.  C.  D.  Parker,  Ryder,  and  Pond.  Mr.  Blake 
aims  only  at  producing  music  for  the  masses, 


HANDBOOK   OF  AMERICAN   MUSIC  AND  MUSICIANS. 


in  which  he  has  been  successful  to  an  unusual 
degree.  His  compositions  number  about  three 
thousand,  a  large  part  of  which  are  for  the 
piano,  but  including  many  songs.  He  has  also 
written  some  larger  works,  one  of  which  is 
the  "  Light-Keeper's  Daughter''  (libretto  by 
Geo.  M.  Vickers),  produced  for  the  first  time 
at  the  American  Casino,  Boston,  June  12, 
1882.  He  is  at  present  (1884)  a  resident  of 
Boston,  where  he  is  connected  with  the  music 
publishing  house  of  White,  Smith  &  Co. 

Blake,  George  E.,  was  born  in  1775. 
He  commenced  publishing  music  at  Philadel- 
phia, in  1802,  and  was  the  oldest  music  pub- 
lisher in  America.  He  died  in  Philadelphia, 
Feb.  24,  1S71,  at  the  great  age  of  ninety-six. 

1>I  i  11(1  Tom,  as  he  is  generally  known, 
whose  real  name  is  Thomas  Green  Bethune, 
was  born  near  Columbus,  Ga.,  May  25,  1849. 
He  was  blind  from  his  birth,  but  as  a  compen- 
sation therefor  nature  seems  to  have  endowed 
him  with  wonderful  musical  abilities.  Being 
by  birth  a  slave,  he  was  as  such  purchased  by 
Perry  H.  Oliver,  in  1850.  When  not  more 
than  five  years  old  he  had  already  become 
quite  familiar  with  the  piano,  and  in  1858 
made  his  first  public  appearance  as  a  player. 
Since  that  time  he  has  made  repeated  concert 
tours  in  this  countiy,  visiting  the  principal 
cities  and  towns  and  always  drawing  good 
houses,  and  even  visited  Europe,  where  he  at- 
tracted considerable  attention.  He  is  now 
(December,  1882)  again  making  a  tour  of  the 
States.  Blind  Tom  can  not  be  classed  as  a 
musician  in  a  strict  sense  of  the  word,  having 
never  been  educated  as  such,  and  consequently 
his  few  compositions  are  of  no  value.  Yet  his 
musical  talents  are  indisputable,  and  that  he 
is  in  some  respects  a  player  of  exceptionable 
ability  is  also  equally  true.  In  fact,  his  seems 
to  be  one  of  nature's  eccentrical  bestowals  of 
genius  with  which  we  sometimes  meet,  but 
difficult  to  be  explained  or  accounted  for. 

Bliss,  Philip  Paul,  was  born  in  Clear- 
field County,  Pa.,  July  9,  1838.  He  was  very 
fond  of  music,  and  when  a  young  man  taught 
snging  schools.  Later,  he  held  conventions, 
etc.,  for  Root  &  Cady,  in  various  parts  of  the 
West.  During  the  latter  part  of  his  life  he 
was  connected  with  Moody  and  Sankey,  and 
sang  in  the  gospel  meetings  of  Maj.  D.  W. 
Whittle.  He  only  calls  for  notice  here  as  be- 
ing the  composer  of  several  remarkably   pop- 


ular religious  tunes,  of  which  it  is  but  neces- 
sary to  specify  "  Hold  the  Fort,"  "Only  an 
Armor  Bearer,"  "  Pull  for  the  Shore,"  "Res- 
cue the  Perishing, "jetc.  He  perished  in  the 
terrible  accident  at  Ashtabula,  Ohio,  Dec.  29, 
1876. 

Boise,  Otis  B.,  was  born  Aug.  13,  1845, 
at  Oberlin,  Ohio,  where  his  father  was  a  phy- 
sician. Music  had  a  special  charm  for  him 
from  an  early  age,  and  when  fourteen  years 
old  he  became  organist  of  St.  Paul's  church, 
Cleveland.  He  in  1861  went  to  Leipsic,  study- 
ing theory  and  composition  there  under  Haupt- 
mann,  Richter,  Moscheles,  Menzel  and  others. 
After  a  stay  of  three  years  in  Leipsic,  he  went 
to  Berlin,  where  he  studied  with  Kullak.  Ar- 
duous labor,  however,  told  upon  him,  and  he 
was  taken  with  a  sickness  which  nearly  termi- 
nated his  life.  Upon  recovery,  in  1864,  he 
returned  home  and  became  organist  at  Euclid 
Avenue  Presbyterian  Church,  Cleveland.  In 
1870  he  removed  to  New  York,  where  he  held 
a  similiar  position  in  Dr.  Hall's  church  and 
taught  in  a  conservatory.  On  account  of  de- 
clining health  he  in  1876  again  went  to  Europe 
and  visited  Leipsic,  where  a  motet  of  his  elici- 
ted favorable  comments.  The  year  1877  was 
spent  at  Weisbaden,  and  there  he  made  the 
acquaintance  of  Raff.  In  1878  he  returned  to 
New  York.  Jan.  30,  1879,  ne  gave  a  concert 
at  Chickering  Hall,  the  program  of  which  was 
entirely  made  up  from  his  own  works — cer- 
tainly a  bold  step  for  a  composer  so  young. 
His  compositions  consist  of  a  psalm  for  chorus 
and  orchestra,  symphonies,  concertos,  over- 
tures, smaller  instrumental  pieces,  etc 

Bonawitz,  Johann  Heinrich,  was  born 
Dec.  4,  1839,  at  Durkheim,  Germany,  and  at 
an  early  age  entered  the  Conservatorium  at 
Liege,  where  he  remained  until  he  was  about 
thirteen  years  old.  In  1852  the  family  re- 
moved to  the  United  States,  and  soon  located 
at  Philadelphia.  Young  Bonawitz  played  at  a 
concert  of  the  Philadelphia  Musical  Fund 
Society,  in  the  winter  of  1854-5,  creating  great 
enthusiasm.  He  was  a  great  admirer  of 
Mozart's  music,  and  would  save  up  all  his 
money  to  purchase  the  works  of  that  great 
master.  In  this  way  his  ambition  to  become  a 
composer  was  stimulated,  and  he  wrote  a 
sonata  and  an  overture  (played  by  the  orches- 
tra of  the  Walnut  Street  Theatre),  though  at 
that  time  he  was  sadly  deficient  in  knowledge 


i6 


HANDBOOK  OF   AMERICAN   MUSIC   AND    MUSICIANS. 


of  composition.  In  1861  he  went  to  Europe, 
first  visiting  England  and  then  proceeding  to 
Germany,  everywhere  meeting  with  great  suc- 
cess as  a  pianist.  He  took  up  his  residence 
at  Weisbaden  in  1862,  where  he  remained 
four  years.  In  the  autumn  of  1866  he  gave  a 
farewell  concert  and  departed  for  Paris. 
There  he  both  taught  and  studied,  becoming 
much  in  demand  on  account  of  his  abilities  as 
a  player.  While  in  Paris  he  wrote  his  opera 
of  "The  Bride  of  Messina."  In  1873  he 
returned  to  this  country  and  settled  at  Phila- 
delphia. Soon  after,  "  The  Bride  of  Messina  " 
was  brought  out  at  the  Academy  of  Music  and 
met  with  a  favorable  reception.  For  some 
time  he  traveled  for  Decker  Bros.,  New  York, 
giving  concerts  on  their  pianos.  In  1875  he 
was  appointed  conductor  of  music  at  the  Cen- 
tennial, but  refused  to  act.  Some  unpleasant- 
ness arising,  he  in  1877  went  to  Europe  for 
the  second  time  and  located  at  Vienna,  where 
he  still  remains,  devoting  himself  to  teaching 
and  composition.  During  the  winter  of  1879-S0 
he  made  a  concert  tour  of  Germany.  He  has 
written  a  second  opera,  "  Ostrolenka  "  ( 1873 
or  1874),  which  has  not  yet  been  performed. 

Boston.  Boston  is  noted  for  its  musical 
culture,  and  some  account  of  its  principal  mu- 
sical societies  and  institutions  is  here  given. 
Its  leading  musical  manufacturers  and  pub- 
lishers are  noticed  in  their  alphabetical  order. 

Boston  Conservatory  of  Music.  This 
institution,  one  of  the  leading  ones  of  its  kind 
in  America,  was  established  in  1867,  by  Julius 
Eichberg,  who  is  still  (Jan.,  1886)  its  director. 
Thorough  instruction  in  all  branches  of  music- 
is  given  by  experienced  teachers,  and  the  ad- 
vantages for  rapid  and  sure  progress  on  the 
part  of  the  pupil  are  as  great  as  can  anywhere 
be  found.  The  Conservatory  has  had  a  pow- 
erful influence  in  raising  the  standard  of  musi- 
cal taste,  not  only  through  the  15,000  pupils 
who  have  passed  through  its  courses  and  are 
scattered  all  over  the  country,  but  through  the 
numerous  public  concerts  given,  which  are 
always  of  high  order. 

The  violin  school,  which  is  under  the  per- 
sonal direction  of  Mr.  Eichberg,  deserves  es- 
pecial notice.  By  common  consent  it  is  re- 
garded as  having  no  equal  in  America  and 
scarcely  surpassed  in  Europe.  The  artistic 
and  highly  refined  performances  of  its  pupils 
give  evidence  of  rare  musical  ability  and  train- 


ing skill  in  its  director  and  have  won  the  high- 
est praise.  Mr.  Eichberg  has  done  much  to- 
ward removing  the  prejudice  existing  in  this 
country  against  the  violin  as  a  suitable  musical 
instrument  for  ladies.  The  Eichberg  String 
Quartet,  composed  entirely  of  Mr.  Eichberg's 
pupils,  recently  returned  from  Europe,  where 
it  was  accorded  a  flattering  reception  for  its 
masterly  interpretations  of  the  best  works. 
No  one  is  so  well  qualified  as  Mr.  Eichberg 
for  the  work  he  has  in  hand,  and  his  success 
will  mark  an  era  in  the  musical  history  of  this 
country. 

Boston  University.  There  is  connected 
with  this  University  a  College  of  Music,  of 
which  Dr.  Eben  Tourjee  is  dean.  Students 
having  completed  the  course  of  study  of  any 
conservatory  are  admitted,  after  passing  a 
satisfactory  examination,  to  the  study  of  the 
higher  branches.  Three  years  are  generally 
necessary  to  complete  this  course,  and  the 
student  may  at  the  close  receive  the  degree  of 
Bachelor  of  Music,  provided  he  is  a  graduate 
of  any  college  of  art,  or  if  not,  by  passing  an 
examination  in  the  following  branches  :  Eng- 
lish composition,  history,  and  literature,  a 
modern  language  (French,  German,  or  Ital- 
ian), Latin  (or  a  second  modern  language), 
and  mathematics.  After  obtaining  this  degree, 
that  of  Doctor  of  Music  may  be  obtained  by 
pursuing  an  additional  four  years'  course  of 
study,  and  passing  examinations  in  arithmetic, 
grammar,  geography,  modern  history,  ele- 
ments of  physics,  elements  of  chemistry, 
ancient  history  and  geography.  In  both  cases 
the  candidate  is  required  to  present  satisfac- 
tory vouchers  for    his  good  moral   character. 

Boston  Academy  of  Music  A  society 
formed  in  1833,  in  Boston,  having  for  its 
object  the  advancement  of  music  in  general, 
but  more  especially  of  sacred  muisc.  It  was 
under  the  direction  of  Dr.  Lowell  Mason 
and  George  James  Webb,  two  of  the  pioneer 
musicians  of  this  country.  Dr.  George  F- 
Root  was  also  at  one  time  prominently  con- 
nected with  it.  The  following  was  its  pro- 
gram, a  formidable  one,  surely,  but  none  the 
less  worthy  of  adoption  : 

1. — To  establish  schools  of  vocal  music  and 
juvenile  classes. 

2. — To  establish  similar   classes  for  adults. 

3. — To  form  a  class  for  instruction  in  the 
methods    of  teaching  music,  which    may   be 


HANDBOOK   OF   AMERICAN   MUSIC  AND   MUSICIANS. 


-7 


composed  of  teachers,  parents,  and  all  other 
persons  desiring  to  qualify  themselves  for 
teaching  vocal  music. 

4. — To  form  an  association  of  choristers  and 
leading  members  of  choirs,  for  the  purpose  of 
improvement  in  conducting  and  performing 
sacred  music  in  churches. 

5. — To  establish  a  course  ofpopularlectures 
on  the  nature  and  object  of  church  music,  and 
style  of  composition  and  execution  appropriate 
to  it,  with  experimental  illustrations  by  the 
performance  of  a  select  choir. 

6. — To  establish  a  course  of  scientific  lec- 
tures. 

7. — To  establish  exhibition  concerts. 
8. — To  introduce  vocal  music  in  schools. 
9. — To  publish  circulars  and  essays. 
The  influence  of  the  Academy    was   felt  all 
over  the  United  States,  and  at  one  time  it  was 
considered  an  authority  in  everything  relating 
to  music.     In  1S47  it  ceased  to   exist,    giving 
way  to  the  more    recent  societies   of   Boston, 
but   not   until   it  had  performed    an  important 
mission. 

Boston  Music  Hall.  A  building  erected 
in  1852  for  musical  purposes.  The  main  hall 
is  130  feet  long,  78  feet  wide,  and  65  feet  high, 
with  two  balconies.  The  seats  are  so  placed 
that  every  person  can  easily  see  and  hear. 
Doors  at  short  intervals  lead  from  the  floor 
and  balconies  to  means  of  exit,  so  that  the 
hall,  which  holds  3,000  people,  can  be  emptied 
in  a  very  few  minutes  if  necessary.  The  build- 
ing contains  besides  the  hall  numerous  other 
rooms  which  may  be  used  for  any  desired 
purpose. 

Boylston  Club.  This  musical  society, 
composed  exclusively  of  gentlemen,  was  orig- 
inated in  February,  1872.  During  the  ensuing 
season  several  pleasant  evening  entertainments 
were  given,  but  it  was  not  until  Feb.  21,  1873, 
that  the  first  real  concert  occurred.  The 
second  season,  which  was  opened  with  a  pub- 
lic rehearsal  at  Parker  Memorial  Hall,  Nov. 
28,  1873,  proved  a  prosperous  one,  and  soon 
the  Club  took  its  place  among  the  recognized 
and  influential  musical  organizations  of  Bos- 
ton. In  1875  Carlyle  Petersilea  became  its 
pianist,  a  post  which  he  still  retains.  In  1876 
it  was  voted  to  invite  the  ladies  to  assist  at 
the  concerts,  but  the  membership  is  still  ex- 
clusively male.  Eben  Phinney  was  its  first 
director,       but      was      soon     succeeded      by 


J.  B.  Sharland.  Mr.  Sharland  resigned  his 
position  in  1875,  when  George  L.  Osgood  be- 
came director,  a  capacity  in  which  he  still 
(Jan.,  1883)  acts.  Under  his  able  leadership 
the  Club  not  only  continued  to  prosper  but 
improved  its  high  musical  standard,  so  largely 
due  to  the  efforts  of  Mr.  Sharland.  The  per- 
formances of  the  Club  are  of  the  highest  order, 
and  the  programs  comprise  the  best  works,  such 
as  Mendelssohn's  "  Athalie,"  Schumann's 
"  Pilgrimage  of  the  Rose,"  Bach's  "Motet  in 
B  flat,"  Brahm's  "Choral  Hymn,"  David's 
"Desert,"  and  Paine's  "Realms  of  Fancy." 

Apollo  Club.  This  society  was  formed  in 
July,  1871.  Its  object  is  the  cultivation  and 
performance  of  music  for  male  voices  only. 
The  number  of  regular  or  active  members  was 
at  first  fifty,  which  has  gradually  increased  to 
seventy-five,  with  five  hundred  "associate" 
(those  who  are  subject  to  an  annual  assess- 
ment but  take  no  part  in  the  performances) 
members.  In  March,  1873,  the  Club  was  in- 
corporated under  a  special  act  of  the  Massachu- 
setts Legislature.  Weekly  rehearsals  have 
been  held  from  the  first,  and  up  to  1882  seven- 
ty-four concerts  had  been  given,  under  the 
care  of  its  efficient  conductor,  B.  J.  Lang. 
Among  the  works  brought  out  (always  with 
full  orchestral  accompaniment  where  existing) 
are  Mendelssohn's  "Antigone,"  "  CEdipus 
at  Colonus,"  and  "A  Vintage  Song;  "  Schu- 
mann's "The  Luck  of  Edenhal]  "  and  "  For- 
ester's Chorus;"  Beethoven's  "Chorus  of 
Dervishes;"  Bruch's  "Scenes  from  the 
Frithjof-Saga  "  and  "  A  roman  Song  of 
Triumph;"  Raff's  "The  Warder  Song;" 
Rubenstein's  "  Morning;  "  Buck's  "The  Nun 
of  Nidaros  "  and  "King  Olaf's  Christmas  ;  " 
Whiting's  "The  March  of  the  Monks  of  Ban- 
gor ;"  Paine's  "  CEdipus  Tyrannus ;  "  Chad,. 
wick's  "  The  Viking's  Last  Voyage;"  etc- 
The  officers  of  the  society  consist  of  a  presi- 
dent, vice-president,  secretary,  treasurer,  and 
librarian,  who  constitute  the  board  of  directors; 
besides  which  there  is  a  committee  of  three  on 
music,  and  a  committee  of  four  on  voices. 

Cecilia,  The.  This  society  of  mixed 
voices  was  originated  in  1874  by  the  Harvard 
Musical  Association,  and  was  designed  to 
assist  at  its  concerts.  There  was  no  regular 
organization  and  it  remained  under  the  patron- 
age of  the  Harvard  Association  until  the  spring 
of  1876.      At  that  time  a  separation  took  place, 


1 8 


HANDBOOK   OF  AMERICAN   MUSIC   AND   MUSICIANS. 


and  the  Cecilia  was  remodeled  and  placed  on 
a  permanent  footing  of  its  own.  The  number 
of  active  members  was  lixed  at  125  and  the 
number  of  associate  members  (those  subject 
to  assessments  but  taking  no  part  in  the  musi- 
cal exercises)  at  250.  The  concerts  of  the 
society  were  held  in  Tremont  Temple  until 
that  building  was  destroyed  by  fire  in  1879, 
when  they  were  temporarily  held  in  the  Music 
Hall,  and  the  number  of  active  members  in- 
creased to  150.  B.  J.  Lang  has  from  the  first 
been  its  conductor,  and  under  his  direction  it 
has  given  many  important  works. 

Euterpe  (The).  This  society,  though 
young,  has  a  strong  board  of  officers  and  occu- 
pies a  prominent  position.  It  was  organized 
Dec.  13,  1878,  and  gave  its  first  concert  on  the 
15th  of  January  following.  Its  object  is  the 
encouragement  of  chamber  music  and  the 
production  of  the  best  compositions  in  this  line. 
The  number  of  members  is  150,  and  all  money 
received  is  expended  on  the  concerts,  after 
allowing  for  the  necessary  running  expenses. 
Connected  with  the  society  are  some  of  Bos- 
ton's most  prominent  musicians,  among  whom 
are  C.  C.  Perkins  (president),  B.  J.  Lang 
(vice-president),  W.  F.  Apthorp  (treasurer), 
Julius  Eichberg,  John  Orth,  S.  B.  Whitney, 
J.  C.  D.  Parker,  etc.  F.  H.  Jenks  is  (Dec, 
1882)  secretary. 

Handel  and  Haydn  Society.  The 
largest  and  most  noted  musical  association  of 
the  United  States.  It  was  founded  March  30, 
1815.  At  that  time  sixteen  gentlemen  came 
together  in  response  to  an  invitation  dated 
several  days  before,  and  signed  by  Gottlieb 
Graupner,  Thomas  S.  Webb  and  Asa  Peabody. 
A  second  meeting  was  held  a  fortnight  later,  at 
which  a  set  of  rules  was  adopted  and  Matthew 
S.  Parker  elected  secretary;  but  it  was  not 
until  the  third  meeting,  April  20,  1S15,  that 
the  board  of  government  was  completed  by 
the  election  of  Thomas  S.  Webb,  president ; 
Amasa  Winchester,  vice-president ;  Nathaniel 
Tucker,  treasurer,  and  nine  trustees. 

The  Society,  whose  avowed  object  was  the 
cultivation  and  improvement  of  sacred  music 
and  the  introduction  of  the  works  of  eminent 
composers,  was  thus  perfected  in  form,  but  as 
yet  had  showed  no  signs  of  life.  Early  in 
September,  1815,  there  was  talk  of  a  public 
exhibition,    which   took  place    the    following 


Christmas  night,  before  an  audience  of  1000. 
The  chorus  numbered  about  100  performers, 
and  the  orchestra  a  dozen,  which,  with  an 
organ,  executed  the  accompaniments.  The 
program  included  selections  from  "Messiah," 
"Creation,"  and  other  of  Handel's  works. 
An  enthusiastic  reception  was  tendered  this 
performance. 

February  9,  1816,  the  State  legislature 
granted  a  special  charter,  in  which  the  aim  of 
the  Society  was  recognized,  and  a  new  set  of 
rules  was  adopted,  calculated  to  strengthen 
the  association.  It  was  not  until  the  seven- 
teenth concert,  Dec.  25,  1818,  that  an  oratorio 
entire  was  performed,  which  was  the  "  Mes- 
siah." Six  festivals,  resembling  those  of 
Birmingham  (Eng.),  have  been  held,  the  first 
occurring  in  1857.  In  May,  1865,  the  fiftieth 
anniversary  of  the  Society  was  held.  Since 
1868,  triennial  festivals  have  regularly  been 
held. 

Many  of  the  works  of  the  masters  have 
been  produced  for  the  first  time  in  this  coun- 
try by  the  Society,  at  whose  concerts  numbers 
of  the  most  renowned  singers,  both  native  and 
foreign,  have  appeared.  Until  1847  the  presi- 
dent performed  the  duties  of  a  conductor,  but 
in  that  year  they  were  assumed  by  Charles 
E.  Horn.  In  1850,  C.  C.  Perkins,  also  presi- 
dent, assumed  the  conductorship.  Since  then 
the  conductors  have  been  J.  E.  Goodson,  185 1  ; 
G.  J.  Webb,  1852;  Carl  Bergmann,  1852; 
Carl  Zerrahn,  Aug.  24,  1854,  who  is  still 
conductor.  The  organists  have  been  S.  Stock- 
well,  S.  P.  Taylor,  S.  A.  Cooper,  J.  B.  Taylor. 
Miss  Sarah  Hewett,  Charles  Zeuner,  A.  N. 
Hayter,  G.  F.  Hayter,  F.  F.  Mueller, 
J.  C.  D.  Parker.  B.  J.  Lang,  elected  Sept.  15, 
1859,  is  the  present  organist.  Rehearsals  are 
regularly  held  Saturday  evenings,  from  Octo- 
ber to  April.  Up  to  1878,  610  concerts  had 
been  given. 

The  Society  is  composed  of  about  300 
members,  active  and  retired.  lis  influence 
on  the  musical  affairs  of  this  country  has 
been   very   marked. 

The  choral  force  is  about  600  strong.  A 
membership  fee  of  %  is  charged. 

The  following  is  a  list  of  the  principal 
works  performed  by  the  Society  up  t<>   t88i  : 


HANDBOOK    OF  AMERICAN    MUSIC    AND    MUSICIANS. 


First 

Tina 

Vo.    Timci 

Wiwvfc. 

I  8 1  s. 

Dec. 

25 

74 

Messiah, 

[819, 

Feb. 

16 

62 

Creation, 

1819, 

Apr. 

1 

3 

Dettingen  Te  Deum, 

[821, 

Feb. 

6 

4 

The  Intercession, 

1829, 

Jan. 

18 

Mass  (B  flat  major), 

1829, 

"Apr. 

12 

1 

Mass  ( C  major), 

1829, 

Dec. 

J3 

2 

.  Mass  (F  major), 

1830, 

Nov. 

7 

The  Storm," 

183 1. 

Mar. 

27 

1 

Te  Deum  (C  major), 

1832, 

Feb. 

26 

2 

1  Mr  to  Washington, 

•833, 

Mar. 

24 

9 

Christ  on  the  Mount  of  Olives, 

1836, 

Feb. 

28 

57 

David, 

1836, 

Oct. 

2 

1 

The  Remission  of  Sin, 

1837. 

Oct. 

1 

4 

Hymn  of  the  Night 

[838, 

Nov. 

4 

2 

The  Power  of   Song, 

1S40, 

Oct. 

4 

7 

Mount  Sinai, 

1841, 

Nov. 

14 

7 

The  Transient  and  the  Eternal 

1842, 

Mar. 

20 

9 

The    Fast   Judgment, 

1843. 

Jan. 

22 

12 

St.  Paul, 

i843> 

Feb. 

26 

27 

Stabat    Mater, 

1845, 

Tan. 

26 

33 

Samson, 

1845. 

Dec. 

21 

45 

Moses  in  Egypt, 

1847. 

Dec. 

5 

16 

Judas  Maccabseus, 

1848, 

Feb. 

13 

46 

Eli  i  all, 

1849, 

Dec. 

16 

7 

The  Martyrs, 

1853, 

Feb. 

6 

4 

Engedi, 

1853, 

Apr. 

2 

() 

Ninth  Symphony  (Choral), 

1855, 

Nov. 

18 

4 

Solomon, 

1857, 

Jan . 

18 

3 

Requiem  Mass, 

1857, 

Feb. 

J5 

4 

Eli,        .... 

1858, 

Apr. 

10 

18 

Hymn  of  Praise, 

1859, 

Feb. 

l3 

6 

Israel  in  Egypt, 

1863, 

Nov. 

28 

2 

Ode  on  St.  Cecilia's  Day,     . 

1863, 

Nov 

28 

5 

Overture,  "  Ein'  feste  Burg," 

1866, 

May 

[3 

Psalm  42, 

1867, 

Feb. 

17 

1 

Jcphtha, 

1 868, 

May 

5 

1 

Psalm  95, 

1S69, 

Mar. 

27 

2 

Naaman, 

1871, 

May 

'3 

1 

The  Woman  of  Samaria, 

1874, 

May 

1 

Christus, 

1874, 

May 

7 

3 

Hear  my  Prayer, 

1874, 

May 

7 

Psalm  46, 

1874, 

May 

8 

5 

Passion  music  (St.  Matthew), 

1874. 

Mav 

9 

St.  Peter,  .     . 

1875. 

Apr. 

28 

1 

Seasons, 

1876, 

Apr. 

16 

2 

Joshua, 

iS77. 

May 

x7 

2 

Christmas  <  >ratorio  Parts  I,  II. 

1877, 

May 

17 

1 

Song  of    Victory, 

1877, 

May 

!7 

1 

Psalm   18, 

1877, 

Mav 

•7 

3 

Redemption  Hymn, 

1877, 

May 

17 

2 

Noel,      - 

i87S, 

Mav 

5 

3 

Requiem  Mass, 

iS79. 

Feb. 

9 

Flight  into  Egypt, 

1879, 

Nov. 

23 

1 

Prodigal   Son, 

1880, 

May 

6 

1 

Psalm  43, 

1880, 

May 

7 

1 

Le  Deluge,      . 

Harvard  Musical  Association.  One 
of  the  most  important  and  leading  musical 
societies  of  the  United  States.  It  was  formed 
Aug.  30,  1S37,  from  a  social  and  musical  club 
comprising  undergraduates  in  Harvard  Uni- 
versity,   which   dated  back   to    180S   and   was 


( 'omposcr. 

Handel. 

Haydn. 

Handel. 

King. 

Haydn. 

Mozart. 

Biihler. 

Haydn. 

Haydn. 

Horn. 

Beethoven. 

Neukomm. 

Horn. 

Neukomm. 

Romberg. 

Neukomm. 

Romberg. 

Spohr. 

Mendelssohn. 

Rossini. 

Handel. 

Rossini. 

Handel. 

Mendelssohn. 

Donizetti. 

Beethoven. 

Beethoven. 

Handel. 

Mozart. 

Costa. 

Mendelssohn. 

Handel. 

Handel. 

Nicolai. 

Mendelssohn. 

Handel. 

Mendelssohn. 

Costa. 

Bennett. 

Mendelssohn. 

Mendelssohn. 

Buck. 

Bach. 

Paine. 

Haydn. 

Handel. 

Bach. 

Hiller. 

Marcello. 

Parker. 

Saint— Saens. 

Verdi. 

Berlioz. 

Sullivan. 

Mendelssohn. 

Saint-Saens. 


known  as  the  "Pierian  Sodality."  The 
objects  of  the  society  were  to  improve  the 
musical  taste  in  the  college,  to  provide  a  way 
for  a  professorship  of  music  there,  and  to 
collect  a  library  of  music  and  its  literature,  all 
of  which   have    been    faithfully    carried    out. 


HANDBOOK  OF   AMERICAN   MUSIC   AND   MUSICIANS. 


Fourteen  series  of  concerts  have  been  given 
(they  were  discontinued  in  1880),  comprising 
from  six  to  ten  concerts  each,  beginning  in 
1865.  They  have  been,  with  a  few  excep- 
tions, under  the  efficient  leadership  of  Carl 
Zerrahn.  The  programs  have  comprised 
standard  orchestral  works  and  vocal  and 
instrumental  solos  of  the  best  class.  These 
concerts  have  not  only  been  an  important  factor 
in  raising  the  standard  of  musical  taste  in 
Boston,  but  their  influence  has  been  felt  in 
other  parts  of  the  country.  Of  the  original 
members  of  the  society  only  three  are  now 
living.  They  are  John  S.  Dwight,  president; 
Henry  W.  Pickering,  vice-president,  and 
Henry  Gassett.  Mr.  Dwight  was  the  founder 
and  editor  of  "Dwight's  Journal  of  Music'' 
(which  see),  and  is  well  known  all  over  the 
United  States  as  a  clear,  forcible  writer  on 
music. 

The  library  of  the  Association  comprises  2500 
volumes,  and  is  constantly  receiving  addi- 
tions. It  is  now  one  of  the  largest  and  best  in 
this  country.  Great  care  is  exercised  in 
making  selections  and  that  the  sets  be  com- 
plete. 

Mendelssohn  Quintet  Club,  one  of 
Boston's  oldest  musical  organizations,  was 
formed  in  1849  by  August  Fries.  The  orig- 
inal members  were  August  Fries,  1st  violin  ; 
Heir  Gerloff,  2nd  violin  ;  Theodore  Leh- 
mann,  1st  viola ;  Oscar  Greiner,  2nd  viola ; 
and  Wulf  Fries,  violoncello.  The  immediate 
cause  of  its  formation  was  the  performance  of 
Mendelssohn's  Quintet  in  A,  at  the  house  of 
John  Bigelow,  a  great  lover  of  classical  cham- 
ber music.  For  many  years  the  Club  held  a 
leading  position  and  was  very  influential  in 
promoting  a  taste  for  good  music.  It  still  ex- 
ists, though  the  members  are  somewhat  scat- 
tered, but  has  in  a  measure  been  superseded 
by  the  Beethoven  Quartet  Club,  a  more  recent 
organization  consisting  of  C.  N.  Allen,  Gustav 
Dannreuther,  H.  Hemdel,  and  Wulf  Fries. 
August  Fries  was  for  ten  years  the  leader,  at 
the  end  of  which  time  he  was  succeeded  by 
William  Schultze. 

New  England  Conservatory  of  Mink. 
This  institution,  one  of  the  largest  and  best 
of  its  kind  in  this  country,  was  incorporated 
under  its  present  name  by  an  act  of  the  Legis- 
lature of  Massachusetts,  passed  March  18th 
.ind    approved    by    the    Governor,    William 


Claflin,  March  19th,  1870.  Its  origin,  how- 
ever, dates  back  to  1853,  when  the  present 
director  organized  a  sort  of  musical  school  at 
Providence,  R.  I.  In  1859  this  was  enlarged, 
and  in  1864  chartered  under  the  name  of 
Providence  Conservatory  of  Music.  It  was 
removed  to  Boston,  in  February,  1867,  when 
it  became  a  conservatory  in  the  present  sense 
of  the  word,  and  in  1870  was  incorporated  as 
previously  stated. 

The  Conservatory  is  conducted  on  the  most 
approved  plan,  and  embodies  the  best  features 
of  the  European  institutions.  The  various 
branches  taught  are  piano,  organ,  violin, 
flute,  all  orchestral  and  band  instruments, 
notation,  formation  and  cultivation  of  the 
voice,  solo  singing  in  English,  German  and 
Italian,  sight  singing,  part  singing,  dramatic 
action,  lyric  art  and  opera,  ensemble  playing, 
harmony,  counterpoint,  fugue,  art  of  teaching 
vocal  music  in  public  schools,  tuning  and 
acoustics,  art  of  conducting,  normal  instruc- 
tion, church  music,  oratorio  and  chorus  prac- 
tice, the  languages,  science  of  music,  etc. 
The  corps  of  professors  and  teachers  numbers 
nearly  one  hundred,  among  whom  are  W.  F. 
Apthorp,  Gustav  Dannreuther,  L.  C.  Elson, 
S.  A.  Emery,  Wulf  Fries,  B.  J.  Lang, 
J.  C.  D.  Parker,  J.  H.  Wheeler,  S.  B.  Whitney, 
Carl  Zerrahn,  and  others  equally  well  known. 

Up  to  1882,  the  Conservatory  had  occupied 
rooms  in  the  Music  Hall  building,  Boston,  but 
in  that  year  it  was  found  necessary  to  obtain 
larger  accommodations.  Accordingly,  through 
the  generous  loans  and  gifts  of  the  people  of 
the  city,  the  large  and  handsome  building 
with  grounds,  known  as  St.  James  Hotel, 
located  on  Newton  and  St.  James  streets  and 
fronting  on  Franklin  Square,  was  purchased 
as  its  permanent  home.  The  building  is  of 
brick  and  granite,  185  by  210  feet  and  seven 
stories  high,  has  every  possible  modern  con- 
venience, and  is  without  doubt  the  finest  con- 
servatory building  in  the  world.  The  total 
cost  will  reach  about  #700,000.  There  are 
accommodations  for  550  lady  students  (the 
ladies  only  being  allowed  to  board  in  the 
building),  besides  class  rooms  for  3,000  pupils, 
and  a  large  hall,  which  is  to  be  used  for  the 
Conservatory  concerts,  etc.  The  building  was 
first  opened  as  a  conservatory  Sep.  14th,  1882. 

The  director  of  the  Conservatory  is  Dr.  Eben 
Tourjee-     The   board   of  trustees  consists   of 


HANDBOOK   OF  AMERICAN   MUSIC  AND  MUSICIANS. 


the  following  gentlemen :  Henry  Baldwin, 
A.  I.  Bcnyon,  L.  A.  Chase,  W.  R.  Clark, 
D.  D.,  G.  R.  Eager,  L.  T.  Jefts,  E.  Tourjee, 
A.  S.  Weed,  L.  Whitney,  and  Carl  Zerrahn. 
There  is  besides  an  advisory  board,  composed 
of  about  twenty- five  of  the  leading  men,  liter- 
ary, musical  and  business,  of  Boston  and  vicin- 
ity. The  number  of  students  timing  the  three 
terms  of  the  year  averages  upwards  of  900, 
and  the  expense  for  each  student  ranges  from 
#350  to  #480  per  year,  or  one-third  of  that  for 
a  single  term.  A  museum  somewhat  similar 
to  that  at  South  Kensington  has  been  formed 
at  the  Conservatory,  and  already  contains  quite 
a  large  number  of  specimens  of  ancient  musi- 
cal instruments,  etc.  It  is  to  be  earnestly 
hoped  that  the  managers  will  give  special  at- 
tention to  increasing  this  collection  by  every 
possible  means. 

Philharmonic  Society.  This  Society  is 
comparatively  young.  In  1879  the  Boston 
Philharmonic  Orchestra  was  organized  for  the 
purpose  of  giving  performances  of  a  higher 
order  than  had  previously  been  done.  At  the 
end  of  two  seasons,  however,  it  was  found 
that  the  scheme  would  not  support  itself.  It 
was  then  proposed  by  several  gentlemen  that 
a  society  be  organized  to  bear  the  financial 
burdens,  while  the  orchestra  continued  to 
carry  out  its  aims.  This  was  done,  and  the 
third  season  proved  a  successful  one.  The 
orchestra  is  one  of  the  best  in  the  United  States, 
and  the  Society  has  already  produced  some  im 
portant  works,  among  which  are  Raff's  sym- 
phony, "  Im  Sommer,"  and  Rheinberger's 
"  Wallenstein  "  symphony.  The  following 
have  been  the  conductors  :  Bernhard  Liste- 
mann  (1879),  Dr.  Louis  Maas  (1880),  and 
Carl  Zerrahn  (1881-82).  The  officers  for 
1881-82  were  Dr.  Angell,  president;  Rev. 
Dr.  J.  T.  Duryea,  vice-president ;  and  Oliver 
Ames,  treasurer ;  besides  which  there  are  a 
clerk,  three  auditors,  and  a  board  of  twenty- 
three  directors. 

There  was  in  Boston  an  early  Philharmonic 
Society.  It  was  organized  in  1810,  by  Gott- 
lieb Graupner,  a  German,  and  some  of  his 
friends.  A  large  proportion  of  the  members 
were  amateurs,  and  the  meetings,  which  were 
held  Saturday  evenings,  had  more  character 
istics  of  social  gatherings  than  anything  else, 
although  Haydn's  symphonies  and  other  or 
chestral  works  were  practiced.  Concerts  were 


given  at  intervals,  the  last  one  taking  place 
Nov.  24,  1824,  soon  after  which  the  Society 
ceased  to  exist.  The  band  consisted  of  only 
about  sixteen  pieces — violins,  a  viola,  a  violon- 
cello (bass-viol),  a  double-bass,  aflute,  a  clari- 
net, a  bassoon,  a  French  horn,  a  trumpet  and 
timpani. 

Bowman,  Edward  Morris,  organist, 
was  born  in  the  town  of  Barnard,  Vermont,  in 
1848.  He  began  the  study  of  the  piano  when 
ten  years  old  at  Ludlow  Academy,  and  contin- 
ued it  at  Canton,  N.  Y.,  under  a  Miss  Brown, 
and  later  under  A.  G.  Faville,  a  teacher  of 
some  repute.  From  the  latter  he  also  gained 
some  knowledge  of  theory  and  organ  playing. 
In  1862  the  family  removed  to  Minneapolis, 
Minn.,  where  he  became  organist  of  Holy 
Trinity  P.  E.  Church  and  began  giving  music 
lessons.  He  went  to  New  York  in  1866  and 
studied  the  piano  with  Wm.  Mason  and  the 
organ  and  theory  with  John  P.  Morgan,  and 
was  for  several  months  organist  of  Old  Trinity 
Church,  (Dr.  Dix).  In  August,  1867,  he  lo- 
cated in  St.  Louis,  Mo.,  where  in  1870  he 
married.  From  1872  to  1874  he  sojourned  in 
Europe  in  company  with  his  wife,  an  artist  of 
some  ability.  The  most  of  this  time  was  spent 
in  Berlin,  with  Franz  Bendel  (piano),  Haupt 
(organ),  and  Weitzmann  (theory  and  compo- 
sition) as  teachers.  Part  of  1873  was  spent  in 
studying  registration  with  Batiste  at  Paris.  Re- 
turning to  St.  Louis  in  1874  he  became  organ- 
ist of  the  Second  Presbyterian  Church  (Dr. 
Xicoll's),  and  in  1879  was  called  to  a  similar 
post  at  the  Second  Baptist  Church(Dr.  Boyd's), 
which  he  still  (May,  1883)  holds.  Mr.  Bow- 
man passed,  in  1881,  the  examination  of  the 
Board  of  Examiners  (consisting  of  Turpin, 
Gladstone,  Stephens,  Arnold,  Gadsby,  and 
Hopkins)  of  the  London  Royal  College  of  Or- 
ganists, and  was  congratulated  and  dined  by 
the  board  on  being  the  first  American  to  do 
so.  In  July,  1882,  he  was  also  elected  presi- 
dent of  the  Music  Teachers'  National  Associa- 
tion. He  is  one  of  our  best  organists  and  a 
thorough  musician.  Some  time  since  he  pub- 
lished "Bowman's  Weitzmann's  Manual  of 
Musical  Theory,"  a  very  excellent  work. 

Bradbury,  William  B.,  one  of  the 
pioneer  American  musicians,  to  whom  we 
owe  much,  was  born  at  York,  Maine,  in  1816. 
He  descended  from  a  good  family,  his  grand- 
father being  an  old  revolutionary  soldier  who 


HANDBOOK    OF    AMERICAN   MUSIC    AND    MUSICIANS. 


was  highly  esteemed.  Both  his  father  and 
his  mother  had  a  local  reputation  as  musicians, 
his  father  being  a  choir  leader  and  singing 
master.  Young  Bradbury  thus  inherited  a 
taste  for  music  which  early  manifested  itself. 
He  was  employed  on  his  father's  farm,  but 
spent  all  his  spare  time  in  dilligently  practic- 
ing on  such  musical  instruments  as  came 
within  his  reach,  becoming  quite  proficient 
on  some  of  them. 

In  1830  his  parents  removed  to  Boston, 
where  he  saw  and  heard  for  the  first  time  a 
piano  and  organ,  as  well  as  various  other 
instruments.  The  effect  was  to  lead  him  to 
devote  his  life  to  the  service  of  music.  Ac- 
cordingly he  took  lessons  upon  the  organ,  and 
as  early  as  1834  had  achieved  some  reputation 
as  an  organist.  He  commenced  his  career  as 
a  teacher  in  New  York,  in  1840,  and  as  a 
composer  about  the  same  time,  meeting  with 
the  trials  and  discouragements  which  usually 
fall  to  the  lot  of  a  young  and  unknown 
musician. 

In  1847  ^ir-  Bradbury  and  his  family  went 
to  Europe,  traveling  in  Germany  and  Switzer- 
land. At  Leipsic  he  studied  for  some  time 
under  the  best  masters,  gaining  a  deeper 
insight  into  music.  After  his  return 
home,  in  1849,  he  devoted  his  entire  time  to 
teaching,  composing,  and  editing  various  col- 
lections of  music.  He  was  also  called  to 
various  parts  of  the  country  to  conduct  musical 
conventions,  then  just  beginning  to  be  held. 
In  1854  he,  in  conjunction  with  his  brother, 
E.  G.  Bradbury,  commenced  the  business  of 
manufacturing  pianos,  and  the  Bradbury 
instruments  were  at  one  time  quite  popular. 
The  business  is  now  carried  on  by  Freeborn 
G.  Smith. 

Mr.  Bradbury  was  one  of  the  great  trio  (the 
other  two  being  1  >r.  Lowell  Mason  and  Dr. 
George  F.  Root)  to  which  church  and  vocal 
music  in  this  country  owe  so  much.  His  mu- 
sic, though  not  classical,  is  far  from  being 
puerile,  and  was  exactly  fitted  to  the  needs  of 
the  time.  He  was  unceasingly  active,  having 
edited  more  than  twenty  collections  of  music, 
a  large  part  of  which  was  his  own.  His  most 
popular  collection  was  "The  Jubilee,"  pub- 
lished in  1858,  which  attained  a  sale  of  over 
200,000  copies.  Of  his  other  collections  we 
have  space  to  mention  only  a  few,  viz  :  "  The 
Young  Choir  "(1841),  "  The  School  Singer" 


( 1843),  "  Social  Singing  Glee  Book  "  (1844), 
"  Psalmodist"  (1844),  "Young  Melodist" 
(1845),  "The  Choralist"  (1847),  "Musical 
Gems  for  School  and  Home  "  (1849),  "  Men- 
delssohn Collection"  (1849),  "Sabbath-School 
Melodies"  (1850),  "Alpine  Glee  Singer  " 
(1850),  "Metropolitan  Glee  Book"  (1852), 
"Psalmista"  (1851),  "  The  Shawm  "  (1853), 
"New  York  Glee  and  Chorus  Book"  (1855), 
"Sabbath-School  Choir  "( 1856),  and  "The 
Jubilee"  (1858).  He  also  composed  sev- 
eral cantatas,  one  of  which  is  "Esther,"  pro- 
duced in  1856,  and  assisted  in  composing 
others. 

Mr.  Bradbury  died  at  his  residence,  Mont- 
clair,  N.  J.,  Jan.  8,  1868,  leaving  a  widow, 
four  daughters,  two  of  whom  are  married,  and 
a  son.  He  will  always  occupy  a  prominent 
place  in  American  musical  history. 

Brainard,  Silas,  was  born  Feb.  14, 
1814,  at  Lempster,  N.  H.  In  1834  he  removed 
with  his  parents  to  Cleveland,  Ohio,  and  be- 
came a  leading  member  of  a  musical  society 
organized  there  in  the  following  year,  arrang- 
ing music  for  the  orchestra  and  chorus.  He 
gained  some  notoriety  as  a  flutist  in  his  youth. 
In  1836  he  established  a  music  store  in  Cleve- 
land, and  in  1845  began  the  extremely  hazard- 
ous business  of  publishing  music,  founding  the 
present  extensive  house  of  S.  Brainard's  Sons 
(See  Brainard's  Son's,  S.).  He  was  the 
author  of  several  musical  instruction  books. 
He  died  at  his  home  in  Cleveland,  April  S, 
187 1,  leaving  two  sons,  Charles  S.  and  Henry 
M.  Brainard,  who  now  conduct  their  father's 
business  as  publisher. 

Brainard's  SOUS,  S.  This  music-pub- 
lishing firm,  ranking  among  the  foremost  in 
the  United  States  and  one  of  the  most  exten- 
sive ones  in  the  West,  was  founded  at  Cleve- 
land, Ohio,  in  1836,  by  Silas  Brainard,  a 
native  of  New  Hampshire.  At  that  early  day, 
it  was  considered  a  particularly  hazardous 
venture,  but  by  careful  management  combined 
with  the  rapid  development  of  the  country, 
the  business  was  successful  and  soon  became 
established  on  a  sound  footing.  The  subse- 
quent career  of  the  firm  has  been  one  of  steady 
progress  to  its  present  high  position,  necessi- 
tating several  removals  to  larger  buildings. 
In  1876  the  business  was  removed  to  the  new 
building  on  Euclid  Avenue,  erected  expressly 
for  the  purpose,  within  the  walls  of  which  its 


HANDBOOK   OF   AMERICAN   MUSIC  AND   MUSICIANS. 


2i 


various  branches  are  conveniently  located. 
The  firm  has,  in  addition,  an  electrotype 
foundry  and  bindery.  Nearly  20,000  pieces 
of  sheet-music  are  published  by  them,  besides 
many  music-books,  and  they  deal  largely  in 
the  leading  makes  of  all  kinds  of  musical 
instruments.  They  have  a  branch  house  in 
Chicago  and  numerous  agencies  throughout 
the  country. 

In  187 1,  Mr.  Silas  Brainard,  the  founder  of 
the  firm,  passed  away,  and  was  succeeded  by 
his  two  sons,  Charles  S.  and  Henry  M.  Brain- 
ard, who  had  long  been  associated  with  him. 
They  have  since  carried  on  the  business  under 
the  firm  name  as  given  above. 

Brainard' s  Musical  World.  A  32- 
page  musical  monthly  established  in  1863  and 
published  by  the  above  firm.  It  is  one  of  the 
leading  journals  of  music  in  America,  being 
ably  conducted  and  devoted  to  the  advance- 
ment of  the  art  in  all  its  branches.  Ka>rl 
Merz  became  its  editor  in  1868,  a  position 
which  he  still  (Jan.,  1886)  holds. 

Brandt,  Hermann,  was  born  at  Ham- 
burg, Germany,  in  1842,  and  in  1864  became 
a  violin  pupil  of  Ferdinand  David.  Having 
appeared  with  success  in  various  German 
cities,  he  in  1868  was  appointed  concertmeister 
of  the  German  Theatre,  Prague.  He  came  to 
this  country  in  1873  as  chief  violinist  of  the 
Thomas  orchestra,  but  settled  in  New  York 
after  that  organization  disbanded.  He  is  now 
concertmeister  of  the  Philharmonic  Society. 

Brandeis,  Fredertk,  was  bom  at 
Vienna  in  1835,  and  studied  the  piano  under 
Fischhof  and  Czerny  and  composition  under 
Rufinatscha.  In  1848  he  came  to  the  United 
States  and  settled  at  New  York,  where  he  has 
since  resided,  much  esteemed  as  a  teacher  and 
composer.  He  has  written  a  considerable 
number  of  piano  compositions  and  songs. 
Among  his  larger  pieces  are  an  "andante"  for 
small  orchestra;  "The  Ring,"  ballade  for 
solos,  chorus  and  piano  ;  and  a  sonata  for  the 
piano. 

Bride  of  Messina.  An  opera  by  Jean 
Henri  Bonawitz.  Produced  for  the  first  time 
at  the  Academy  of  Music,  Philadelphia, 
April  22,  1874,  when  it  met  with  a  good 
reception.  It  has  since  been  produced  in 
many  of  the  other  principal  cities  and  towns. 

Brignoli,  Pasquilino.  An  Italian  tenor 
singer  of  some   eminence  who  came    to  this 


country  in  1855,  ar|d  wno  was  well  known 
here,  having  sung  in  nearly  every  city  of 
importance.  During  the  season  of  1882-83  he 
traveled  throughout  the  West  with  the 
Kellogg-Brignoli  Concert  Company.  He  died 
at  the  Everett  House,  New  York,  Thursday 
afternoon,  Oct.  30,  1884,  attended  by  only 
two  or  three  faithful  friends. 

Brinkerhoff,  Clara  M.,  {nee  Rolph), 
well  known  as  a  concert  and  oratorio  prima 
donna,  was  born  in  London,  England,  about 
1830.  Her  parents,  Mr.  and  Mrs.  John  A. 
Rolph,  who  were  highly  cultivated  people, 
removed  to  this  country  when  she  was  little 
more  than  an  infant.  For  seven  years,  begin- 
ning at  the  age  of  five,  her  vocal  studies  were 
conducted  by  her  mother,  according  to  the 
old  Italian  method.  Upon  the  death  of  her 
mother,  at  the  end  of  that  time,  she  was 
placed  under  the  care  of  Mr.  Derwort,  a 
German  musician,  with  whom  she  remained 
some  time.  She  subsequently  studied  with 
Mme.  Arnault,  and  also  with  George  and 
Eliza  Loder  in  English  and  oratorio  music. 
In  her  sixteenth  year  she  made  her  debut 
under  the  direction  of  Henry  Meiggs  at  a  con- 
cert given  in  Apollo  Hall,  on  Broadway,  with 
decided  success.  Dec.  25,  1848,  she  was 
married  to  Mr.  C.  E.  L.  Brinkerhoff,  but  did 
not  forsake  her  profession.  She  has  sung 
much  in  concerts  in  New  York  city,  and  in 
various  States  of  the  Union.  In  1861  she  vis- 
ited Europe  and  was  the  recipient  of  many 
flattering  favors  in  Paris  and  London.  Mme. 
BrinkerhofTs  voice  is  a  rich  soprano  of  nearly 
three  octaves  range,  full  and  clear  in  quality. 
She  resides  in  New  York  City,  and  much  of 
her  time  is  devoted  to  teaching.  She  has 
composed  a  number  of  songs,  of  which  "Clar- 
itta "  and  "One  Flag  or  no  Flag"  have 
gained  some  popularity.  She  has  also  written 
a  romance  called  "Alva  Vine;  Art  Versus 
Duty." 

Bristow,  George  Frederick,  one  of 
America's  representative  musicians,  was  born 
in  Brooklyn,  N.  Y.,  Dec.  19,  1825.  At  the 
age  of  five  years  he  regularly  began  the  study 
of  music  under  a  competent  master,  and  when 
thirteen  became  second  leader  of  violins  in  an 
orchestra.  A  year  later  his  first  composition 
was  published.  In  1836  he  received  his  first 
professional  appointment  as  violinist  in  the 
orchestra  of  the  Olympic  Theatre,  then  led  by 


HANDBOOK  OF  AMERICAN  MUSIC  AND  MUSICIANS. 


George  Loder.  Upon  the  organization  of  the 
New  York  Philharmonic  Society,  in  1842,  he 
entered  the  orchestra  as  violinist,  a  position 
which  he  has  retained  down  to  the  present 
time,  February,  1883.  His  first  overture  was 
performed  by  the  Philharmonic  Society  while 
he  was  yet  in  his  seventeenth  year.  His  con- 
cert overture  (op.  3)  was  also  performed  by 
the  Society,  and  attracted  considerable  atten- 
tion. It  was  followed  in  1845  by  a  symphony 
in  E  fiat.  He  in  1849  wrote  the  orchestral 
score  to  "  Eleutheria,"  a  cantata  by  G.  H.  Cur- 
tis, which  was  performed  at  the  Tabernacle. 
1  Hiring  the  brilliant  career  of  Jenny  Lind  in 
this  country  he  held  the  position  of  concert ineis- 
ter  under  Sir  Jules  Benedict,  and  was  engaged 
in  the  same  capacity  by  Jullien,  for  whom  he 
wrote  a  symphony  in  I)  minor,  receiving 
therefor  £200,  which  was  considered  a  large 
price  in  those  days  for  a  production  by  an 
American  composer.  It  was  a  work  of  more 
than  ordinary  merit,  and  proved  a  profitable 
investment  for  Mr.  Jullien.  Bristow's  romantic 
opera,  "  Rip  Van  Winkle,"  was  produced  at 
Niblo's  Garden,  New  York,  Sept.  27,  1855,  by 
the  Pyne-Harrison  English  Opera  Company. 
Such  was  its  success  that  it  ran  for  thirty  con- 
secutive nights.  The  libretto  is  by  J.  H.  Wain- 
right.  The  work  is  of  more  than  ordinary 
merit,  containing  many  fine  and  powerful  num- 
bers, and  deserves  to  be  revived  by  some 
impresario.  It  was  translated  into  Italian,  new 
scenery,  costumes,  etc.,  were  prepared,  and 
it  was  just  about  to  be  reproduced  under  the 
direction  of  Max  Maretzek,  with  Clara  Louise 
Kellogg  as  the  heroine,  when  the  New  York 
Academy  of  Music  was  destroyed  by  lire  in 
1865.  It  has  not  yet  been  published  in  com- 
plete form.  Some  time  after  the  production  of 
"  Rip  Van  Winkle,"  Mr.  Bristow  wrote  his 
first  oratorio,  "Praise  to  God."  It  was  thrice 
performed,  and  greatly  added  to  its  composer's 
reputation.  The  third  performance  was  given 
by  the  New  York  Harmonic  Society  (of  which 
Mr.  Bristow  was  leader)  at  the  Brooklyn  Acad- 
emy of  Music,  and  netted  over  #2,000,  the 
composer  receiving  only  #25  for  his  services. 
Mr.  Bristow's  second  oratorio,  "  Daniel,"  was 
first  performed  under  his  own  direction  at 
Steinway  Hall,  Dec  30,  1867,  by  the  Mendels 
sohn  Union.  Mme.  Parepa-Rosa  assumed  the 
leading  role,  and  the  orchestral  and  choral 
forces  were  in  excellent  training.     The  work 


aroused  unusual  interest,  and  was  very  favor- 
ably received.  As  compared' with  his  previ- 
ous works  it  shows  greater  maturity,  depth, 
and  earnestness  and  certainly  entitles  Mr. 
Bristow  to  rank  as  the  foremost  of  American 
oratorical  composers.  His  Arcadian  sympho- 
ny was  performed  by  the  Philharmonic  Society 
at  the  Academy  of  Music,  New  York,  Feb.  14, 
1874.  It  was  written  as  the  introduction  to  the 
cantata  of  "The  Pioneer  ;  or,  Westward  Ho  !  " 
which  was  begun  by  William  Vincent  Wallace 
and  which  Mr.  Bristow  is  engaged  in  complet- 
ing. When  produced  it  will  undoubtedly 
greatly  enhance  his  reputation. 

Mr.  Bristow's  talents  are  varied  as  well  as 
of  the  highest  order.  He  is  an  accomplished 
organist,  an  excellent  orchestral  conductor, 
a  good  choral  drill  master,  an  experienced 
teacher,  and  a  fine  violinist.  For  half  <>f  a 
lifetime  he  has  taught  music  in  the  public 
schools  of  New  York,  and  in  this  capacity  he 
has  exercised  an  untold  influence  for  good. 
His  life  has  been  a  simple  and  uneventful  one. 
He  appears  but  little  in  society,  and  his  home 
for  many  years  has  been  a  cottage  in  Morris- 
ania.  The  usual  methods  of  gaining  fame  and 
popularity  are  despised  by  him,  but  he  is  most 
highly  esteemed  both  as  a  gentleman  and  a 
musician.  All  of  his  works  are  written  with 
much  care  and  are  frequently  subject  to  repeat- 
ed revisions  before  being  presented  tothe  pub- 
lic. Many  of  them  exhibit  a  purity  of  form, 
nobility,  inspiration,  and  masterly  treatment 
which  will  render  them  in  a  measure  classics, 
and  perpetuate  the  name  of  their  composer. 
The  total  number  of  Mr.  Bristow's  works  is 
above  60,  the  most  of  which  remain  in  manu- 
script.    A  complete  list  is  as  follows: 

Op.  Name. 

1.  Quartet,  in  F.     1st  and  2nd  violins,  viola, 

and  'cello. 

2.  Quartet,  in  G  minor.      1st   and   2nd    vio- 

lins, viola,  and  'cello. 

3.  Concert  Overture,   in    E  flat.     Grand  or- 

chestra. 

4.  La  Belle  Amerique,  nocturne.     Piano. 

5.  Duo,  "La  fille   du    Regiment,"  4  hands. 

Piano. 

6.  Waltz,  in  E  flat.     Piano. 

7.  La  toile  du  noir,  nocturne.     Piano. 

8.  La  Serenade,  nocturne.     Piano. 

9.  La  pensee,  nocturne.     Piano. 

10.  Symphonie,  in  E  flat.     Orchestra. 

11.  La  Belle  du  joir,  nocturne.     Piano. 

12.  Sonale,  in  G.     Violin  and  piano. 


HANDBOOK    OF  AMERICAN    MUSIC    AND    MUSICIANS. 


Fantasie  (violin);  "Cracovienne,"  violin 

and  piano. 
"Innocence,"  nocturne.     Piano. 
Sentence,  in  E  flat,    "  The  Lord  is  in  His 

hoi)'  temple." 
Waltz,  in  E  flat.     Piano. 
"  Zampa."      Solo  violin  and  orchestra. 
Polonaise,  in  E  flat.     Piano. 
Morning  service,  in  E  flat.  (  >rgan  accompt. 
"  La  Belle  nuit,"  nocturne.      Piano. 
"  Life    on  the    ocean     wave,"   variation. 

Piano. 
"  Rip  Van  Winkle,"  opera. 
Sentence,  in  E.     Organ  accompt. 
Symphonie,  in  I)  minor.      Orchestra. 
Friendship,  nocturne  in  E.      Piano. 
Symphonic,  in  F  sharp  minor.    Orchestra. 
Blue  Bell,  nocturne.      Piano. 
Pot-pourri.      Organ. 
Waltz,  in  E  Mat.      Piano. 
Overture,  "  Winter's  Tale."      Orchestra. 
Canzonet,  "  The  Abode  of  Music."   Piano 

accompt. 
Oratorio,  "  Praise  to  (led."    Solo-,  chorus, 

and  orchestra. 
Overture,  "Columbus."      Orchestra. 
Burial  service.      Organ  accompt. 
Waltz,  in  E.      Piano. 
Evening  service,  in  D. 
"Canary  Bird."      Piano  solo. 
"  Eroica."      Piano  solo. 
Easter  anthem,  in  E  flat,  "Christ  our  Pass- 
over. 
Sentence,  "The  Lord  in  his  holy  temple." 
Epigram,  in  A  flat.      Piano. 
Oratorio,    "Daniel."      Solos,   chorus,  and 

orchestra. 
"Rain  Drops."      Piano  solo. 
Collection  of  Psalmody,  Chants,  etc. 
Six  organ  pieces. 
Piano  piece,  in  A  flat. 

Overture,    "Great  Republic."     Orchestra. 
Ascription.      Voice  and  organ. 
Cantata,    "  The  Pioneer."     Solos,  chorus, 

and  orchestra. 
Symphonie,  "Arcadian."      Orchestra. 
Morning  service,  in  B  flat. 
"No  More,"  cantata.      Solos,  chorus,  and 

orchestra. 
Chromatic   Fantasie  and  Fugue,  by  Bach, 

instrumented  for  the  orchestra. 
Morning  service,  in  C. 
La  Militaire.      Piano  solo. 
Evening  service,  in  G. 
Impromptu,  in  B  minor.      Piano. 
Morning  service,  in  F. 
Piano  piece,  in  G  flat. 
Military  March. 
Piano  piece,  in  F. 
Salterello,  in  A  flat  minor.      Piano. 
Mass,  in  C.      Solos,  chorus  and  organ.    < 


This  list  does  not  include  many  unfinished 
sketches.  Mr.  Bristow  is  at  present  engaged 
in  composing  two  operas,  two  oratorios,  and  a 
symphony,  which,  we  doubt  not,  will  surpass 
any  of  his  previous  works. 


Brooklyn.  See  New  York  and  Brook- 
lyn. 

Buckley,  FREDERICK,  was  born  in  Eng- 
land early  in  the  present  century,  and  came  to 
this  country  some  time  about  1840.  lie,  with 
his  father,  James  Buckley,  and  his  two 
brothers,  George  S.  and  R.  Bishop,  formed 
the  famous  Buckley  Minstrels.  He  was  a  fine 
solo  violinist,  but  will  be  chiefly  remembered 
as  the  composer  of  a  number  of  popular  songs. 
Among  them  may  be  mentioned,  "  I'd  Choose 
to  be  a  Daisy,"  "Come  in  and  Shut  the  Door," 
"1  am  Dreaming,  Sadly  Dreaming,"  "Mother, 
<>  Sing  me  to  Rest,"  "Gentle  Annie  Ray," 
"For  Thee  and  Only  Thee,"  "Softly  Falls  the 
Moonlight,"  "She  is  Waiting  for  Me  There," 
"My  Home  is  on  the  Sea,"  "Angry  Words 
are  Lightly  Spoken,"  and  "Our  Union  Right 
or  Wrong."  He  died  at  his  residence,  East 
Canton  Street,  Boston,  in  October,  1864. 

Buck,  Dudley,  one  of  America's  most 
p  eminent  musicians,  was  born  March  10, 
183c,  at  Hartford,  Conn.,  where  his  father  was 
a  prosperous  merchant.  A  love  and  aptitude 
for  music  showed  itself  at  an  early  age,  but 
as  he  was  designed  for  a  business  career,  it 
was  not  encouraged.  He  was,  however, 
allowed  to  attend  singing  school,  and  when 
twelve  years  of  age  learned  to  play  upon  a 
flute  which  he  had  borrowed  of  one  of  his 
acquaintances.  <  hi  his  next  birthday  his 
father,  in  order  to  gratify  what  he  considered 
as  merely  a  youthful  desire,  presented  him 
with  a  flute.  About  two  years  later  his  father 
also  ] "resented  him  with  a  melodeon.  He 
now  dilligently  applied  himself  to  study,  and 
soon  became  able  to  play  some  of  the  accom- 
paniments to  Haydn's  and  Mozart's  masses, 
though  he  had  no  teacher.  When  sixteen 
years  of  age  he  received  a  piano,  and  for  a 
short  period  had  a  teacher  in  the  person  of 
W.  |.  Babcock.  About  the  same  time  he  was 
appointed  deputy  organist  at  St.  John's  Church 
in  his  native  city,  a  post  which  he  held  some 
time.  His  father  now  saw  that  nature  had 
intended  him  for  a  musician,  and  wiseiy  con- 
cluded to  give  him  a  good  musical  education. 
In  the  summer  of  1S58  he  left  home  for 
Europe.  He  first  went  to  Leipsic,  where  he 
studied  the  piano  under  Plaidy  and  Moscheles, 
instrumentation  under  Julius  Rietz,  and  the- 
ory and  composition  under  Hauptmann  and 
Richter,    both    at  the   Conservatorium  and   in 


HANDBOOK    OF  AMERICAN    MUSIC    AND    MUSICIANS. 


private.  Among  his  fellow  pupils  at  the 
Conservatorium  were  S.  B.  Mills,  A.  S.  Sulli- 
van, J.  F.  Barnet,  Walter  Bach,  Carl  Rosa, 
Madeline  Schiller,  Edward  Dannreulher,  etc. 
After  remaining  a  year  and  a  half  at  Leipsic, 
he  went  to  Dresden  and  placed  himself  under 
Johann  Schneider,  for  the  especial  study  of 
Bach's  works.  It  so  happened  that  soon  after 
Rietz  was  called  to  Dresden, which  gave  him  an 
opportunity  to  continue  his  studies  with  his  for- 
mer master.  Having  spent  three  years  in  Ger- 
many, he  proceeded  to  Paris,  where  he 
became  acquainted  with  French  music  and 
musicians.  In  i86_>  he  returned  to  the  United 
States,  an  1  in  deference  to  the  wishes  of  his 
parents  settle  1  at  Hartford,  accepting  the  post 
of  organist  at  Park  Church.  About  this  time 
he  commenced  his  career  as  a  composer, 
signing  his  compositions  with  "  Dudley  Buck, 
Jr."  He  was,  however,  little  satisfied  with 
his  position  at  Hartford,  and  longed  for  more 
cultivated  musical  society  and  extended  op- 
portunities. After  the  death  of  his  parents  he 
removed  to  Chicago,  where  he  accepted  the 
post  of  organist  at  St.  James'  Church  and 
engaged  in  teaching.  The  great  Chicago  fire 
of  October,  1871,  destroyed  his  home  and 
many  of  his  compositions  which  were  in 
manuscript.  Soon  after  the  fire  he  returned, 
with  his  wife  and  child,  to  Boston.  There  he 
was  appointed  organist  at  St.  Paul's,  and  sub- 
sequently of  the  Music  Hall  Association, 
which  included  charge  of  the  great  Music 
Hall  organ.  After  remaining  for  three  years 
in  Boston,  he  again  removed,  this  time  to 
New  York.  He  speedily  acquired  a  high 
position  as  an  organist  and  teacher,  which  he 
has  since  fully  maintained.  At  present  ( 1883) 
he  is  organist  of  the  Church  of  the  Holy 
Trinity,  Brooklyn. 

Mr.  Buck  is  one  of  our  most  talented  and 
thorough  musicians,  and  his  music  is  of  a  high 
order,  possessing  qualities  which  make  it  of 
more  than  ordinarily  lasting  value.  We  have 
been  unable  to  obtain  a  complete  list  of  his 
works,  but  among  some  of  the  larger  and  more 
important  ones  are  "The  Golden  Legend," 
a  prize  cantata,  first  performed  at  the  Cincin- 
nati May  Festival  in  1880  (See  Golden 
Legend);  "  Don  Munio,"  a  cantata-;  a  Cen- 
tennial cantata,  written  for  and  first  produced 
at  the  Centennial  of  187!),  the  original  copy  of 
which  has  been  deposited    in   the   archives   of 


the  Connecticut  Historical  Society,  an  Easter 
Cantata,  published  by  S.  Brainard's  Sons; 
"  Forty-Sixth  Psalm,"  for  solos,  chorus,  and 
orchestra,  performed  by  the  Handel  and 
May  In  Society  of  Boston;  "  Buck's  Motet 
Collection,"  in  two  volumes;  several  organ 
sonatas;  a  symphonic  overture  on  Scott's 
"  Marmion,"  performed  by  the  Brooklyn 
Philharmonic  Society;  six  songs  for  male 
voices;  "Illustrations  in  Choir  Accompani- 
ment, with  Hints  in  Registration,"   etc. 

Bull,  Olous  Bornf.maxn,  one  of  the  most 
renowned  violinists  of  the  present  century, 
was  born  at  Bergen,  Norway,  Feb.  5,  1810, 
and  was  the  eldest  of  ten  children.  His  sus 
ceptibilty  to  the  charms  of  music  became 
plainly  evident  when  he  was  a  mere  infant, 
and  so  strong  did  the  passion  grow  that  when 
five  years  old  his  uncle  presented  him  with  a 
yellow  violin.  At  first  he  had  no  teacher  but 
afterwards  received  some  instruction  from  a 
certain  Paulsen.  It  was  his  own  inherent 
genius  that  taught  him  most,  however,  and 
when  he  had  arrived  at  the  age  of  eight  he 
was  able  to  take  part  in  his  uncle's  quartet. 
A  year  later  he  led  the  violins  in  the  orchestra 
of  the  theatre.  In  1822  he  for  a  short  time 
received  lessons  from  Lundholm,  a  Swedish 
violinist.  At  this  period  his  mother  taught 
him  the  24  caprices  of  Paganini,  which  he 
faithfully  practiced.  He  was  sent  to  the  Uni- 
versity at  Christianiain  1828,  after  having  been 
under  a  private  tutor  for  a  number  of  years,  but 
he  made  poor  work  with  his  lessons.  Music- 
was  the  only  thing  which  had  any  attraction 
for  him,  and  it  must  have  been  a  great  joy  to 
him  when  he  was  appointed  conductor  of  the 
Philharmonic  and  Dramatic  Societies.  In 
May,  1829,  he  visited  Cassel  to  hear  Spohr, 
but  was  coldly  received  by  that  great  violinist. 
However,  he  spent  several  happy  months  at 
Gottingen  before  returning  to  his  native  place. 
It  now  became  his  absorbing  idea  to  go  to 
Paris,  and  in  August,  1831,  he  arrived  in  that 
city.  This  is  the  commencement  of  a  period 
of  privation  and  suffering,  to  which  he  had 
hitherto  been  a  stranger.  The  terrors  of  the 
Revolution  had  hardly  passed  and  everything 
was  at  fever  heat.  He  had  brought  sufficient 
money  to  carry  him  through  the  winter,  but 
being  robbed  by  a  fellow  boarder  he  was  left 
in  extremely  reduced  circumstances.  At  this 
juncture  an  incident  of  strange  character  hap- 


HANDBOOK    OF   AMERICAN    MUSIC  AND    MUSICIANS. 


pened.  One  morning  at  breakfast  he  was  met 
by  a  middle-aged  gentleman  who  seemed  to 
take  a  kindly  interest  in  him.  Upon  the 
advice  of  this  stranger  he  was  induced  to  try 
his  luck  at  gambling.  As  he  had  no  money  of 
his  own,  he  borrowed  five  francs  and  in  the 
evening  repaired  to  the  establishment  indi- 
cated. Placing  his  money  on  the  red  as 
directed  he  let  it  remain  there.  Once,  twice, 
thrice,  again  and  again  it  wins,  until  800 
francs  are  his.  His  feelings  may  better  be 
imagined  than  described.  Suddenly  a  small 
white  hand  grasps  the  money,  but  the  Norwe- 
gian was  too  quick.  A  calm,  clear  voice  near 
by  commands  the  woman  to  release  her  hold 
and  Ole  to  take  his  money.  Turning  about  he 
recognizes  his  friend  of  the  morning,  whom 
he  afterwards  learned  was  none  other  than 
Vidocq,  the  famous  Parisian  chief  of  police. 
His  wants  were  thus  relieved,  but  it  was  only 
temporarily,  and  he  at  one  time  became  so  de- 
spondent as  to  think  of  suicide.  He  tried  for 
various  positions  without  success.  Finally^ 
in  April,  1832,  he  gave  his  first  concert,  under 
the  patronage  of  the  Duke  of  Montebello. 
This  was  the  opening  of  his  career  as  an 
artist.  Soon  after  he  made  a  tour  of  Switzer- 
land and  Italy,  remaining  some  time  in  the 
latter  country.  In  Bologna  occurred  his 
encounter  with  Malibran,  when  he  was  dragged 
from  bed  at  night  to  satisfy  the  clamorings  of 
an  audience  she  had  disappointed.  He  visited 
Pisa,  Leghorn,  Lucca,  Rome,  and  other  cities, 
everywhere  meeting  with  great  success,  and 
it  was  not  until  May,  1835,  that  he  returned  to 
Paris.  In  the  summer  of  1836  he  was  married 
to  Felicie  Villeminot,  daughter  of  one  of  his 
former  landladies.  The  match  was  a  happy 
one,  and  she  died  in  Norway  in  1862,  having 
borne  him  one  son.  After  his  marriage  he 
traveled  in  France,  England  .(he  had  appear- 
ed in  London  previous  to  that  event),  Ger- 
many, and  Russia,  returning  to  his  old  home 
in  Norway.  In  1838  he  starte  1  on  his  second 
continental  tour,  during  which  he  became  a 
firm  friend  of  Liszt. 

By  this  time  "Ole's"  reputation  as  a  virtuoso 
of  the  first  order  was  fully  established  in 
Europe.  Acting  upon  the  advice  of  Fanny 
Elssler,  he  determined  to  visit  America. 
He  arrived  in  Boston,  by  the  way  of  Amster- 
dam and  London,  in  November,  1843,  but 
immediately    went    to    New   York,   where   he 


gave  his  first  concert  November  23.  During 
the  month  of  December  he  gave  concerts  in 
New  York,  Philadelphia,  Baltimore,  Wash- 
ington, Richmond  and  Petersburg.  From  the 
latter  place  he  went  to  Mobile,  New  Orleans, 
and  other  southern  cities.  During  his  travel 
in  the  South  he  met  with  many  adventures, 
only  one  of  which  we  will  relate.  On  one 
occasion  he  took  passage  on  a  Mississippi 
steamboat  which  had  on  board  a  lot  of  rough 
western  men.  He  was  invited  to  drink,  but 
politely  refused.  Anyone  who  is  acquainted 
with  the  customs  of  those  men  knows  that  to 
refuse  to  drink  is  a  deadly  insult,  and  it  soon 
became  evident  that  the  matter  could  only  be 
settled  by  a  test  of  strength.  Ole,  to  avoid 
what  might  have  been  unpleasant  circum- 
stances, offered  to  meet  any  man  of  the  com 
pany  in  wrestling.  A  big  fellow  was  chosen, 
who  stepped  forward  and  grasped  the  violinist 
around  the  waist,  but  was  immediately  thrown 
over  his  head  and  lay  senseless  on  the  deck 
amid  the  laughter  of  his  companions.  This 
same  man  subsequently  called  an  editor  to 
account  for  some  adverse  criticism  on  "Ole's" 
playing.  After  visiting  Cuba,  he  made 
another  tour  of  the  United  States,  in- 
cluding Canada  also.  Dec.  3,  1845,  he  left 
for  Paris,  where  his  family  awaited  him. 
During  the  next  two  years  he  visited  various 
cities  in  FYance  and  Spain,  and  even  made  a 
trip  to  Algiers.  In  January,  1852,  he  again 
came  to  this  country,  landing  at  New  York. 
He  visited  the  principal  cities  and  was  re- 
ceived with  even  more  than  his  old  cordiality. 
During  this  visit  he  purchased  a  large  tract  of 
land  in  Potter  county,  Pennsylvania,  for  a 
Norwegian  colony,  but  the  title  was  defective 
and  he  lost  nearly  the  whole  of  it.  This  was 
not  the  only  misfortune  which  befell  him,  for 
in  one  way  and  another  it  involved  him  in 
numerous  lawsuits.  Then  came  a  fever  which 
greatly  impaired  his  health,  and  it  was  not 
until  1857  that  he  returned  to  Europe  for  the 
second  time.  From  1863  to  1867  he  gave 
concerts  in  Germany,  Poland,  Russia,  and 
other  countries.  In  December  of  the  latter 
year  he  came  to  the  United  States  for  the 
third  time.  The  visit  lasted  until  April,  1870. 
In  the  autumn  of  that  year  he  married  his 
second  wife,  a  lady  of  Madison,  Wis.,  who 
still  survives  him.  The  event  was  solemnized 
in  Norway.     Thenceforth  his  time  was  mainly 


2S 


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divided  between  this  and  his  native  country. 
At  length  his  health  began  to  fail  and  it 
became  such  a  serious  matter  that  some  time 
was  spent  at  the  famous  German  baths,  Wies- 
baden. No  permanent  improvement  resulted. 
It  was  decided  that  he  should  remain  here 
during  the  winter  of  1S79-S0,  and  he  took  a 
residence  at  Cambridge,  Mass.,  where  some 
of  his  friends  celebrated  his  seventieth  birth- 
day, Feb.  5,  1SS0.  In  the  spring  he  sailed 
for  his  old  home  in  Norway,  but  rapidly  grew 
weaker,  and  died  there  Aug.  10,  1SS0,  greatly 
esteemed  and  lamented.  No  one  could  help 
liking  both  the  artist  and  the  man.  Thor- 
oughly unselfish,  he  often  gave  not  only  his 
services  but  large  sums  of  money  for  charitable 
purposes. 

There  is  a  "Memoir"  of  Bull,  edited  by 
Sara  C.  Bull,  his  wife,  and  published  by 
Houghton,  Mifflin  &  Co.,  Boston,  in  1  vol., 
1883.  It  deals  in  a  pleasing  manner  with  the 
life  of  the  great  violinist  and  contains  an  ap- 
pendix illustrating  his  methods  of  holding  his 
instrument.  When  playing  he  always  stood 
upright  and  his  fingers  re-ted  on  the  finger- 
board at  an  acute  angle.  He  can  hardly  be 
called  the  representative  of  any  school  of 
violinists,  though,  perhaps,  his  style  was  more 
largely  founded  on  the  Italian  than  any  other. 
He  was,  in  fact,  both  individual  and  original, 
and  in  many  respects  unlike  anyone  who 
preceded  him.  His  playing  was  distinguished 
for  animation,  feeling,  and  ease  of  execution. 
He  was  emphatically  a  master  in  his  own 
sphere  of  playing,  and  possessed  the  rare 
faculty    of   quickly    putting    his  audiem 

with  himself.  Even  his  appearance  on 
the  stage  was  generally  a  signal  for  applause. 
To  these  qualities  is  due  the  wonderful  suc- 
cess of  his  tours  and  the  fact  that  he  never 
failed  of  having  a  good  house  wherever  he 
went.  Greater  artists  than  he  may  have  lived, 
but  it  may  safely  be  asserted  that  none  have 
had  in  such  a  wonderful  degree  the  gift  of 
appealing  to  an  1  arousing  the  feelings  of  the 
masses. 

Butterlicld,    James    A.,    was    born    in 

Berkhampsted,  England,  May  iS,  1837. 

When   only  four  years   of  age    he    could    play 

easy  tunes  on  the  violin  by  note.      At  the   age 

of  eight   he  performed    the    1st    violin    pari    of 


Handel's  "Hallelujah  Chorus"  before  Ste- 
phen Glover,  to  thai  musician's  great  delight. 
His  fine  voice  gained  him  several    requests  to 

11      a  choir-boy   of  Westminster   Abbey, 

but  to  this  proposal  his  parents  would  not  lis- 
ten. He  early  became  a  member  of  the  Phil- 
harmonic Society  of  his  native  town,  and  once, 
though  but  ten  years  oil,  directed  a  perfor- 
mance of  the  "Messiah"  in  absence  of  the 
conductor.  Later,  he  was  a  pupil  of  John 
Hullah  for  some  time. 

In  1S55  he  came  to  the  United  States,  but 
after  three  years  returned  to  England  and  re- 
sumed his  musical  studies.  He  soon  came 
back  to  this  country,  however,  and  was  ap- 
pointed principal  of  a  musical  academy  in 
the  South.  Being  forced  to  come  North  by 
the  outbreak  of  the  Rebellion,  he  located  in 
Indianapolis,  Ind.,  as  a  teacher  of  music. 
After  residing  in  Indianapolis  for  six  years 
and  a  half,  he  removed  to  Chicago,  where  he 
took  a  prominent  position  as  teacher  and  con- 
ductor. He  was  at  one  period  director  of  the 
Chicago  Oratorio  Society,  and  had  charge  of 
the  chorus  of  the  Chicago  Jubilee  in  1873. 
Quite  recently,  on  account  of  ill  health,  he 
decided  to  come  East,  and  located  in  Norwich, 
Conn.,  where  he  now  (March,  1885)  resides. 
Of  his  four  operas  "  Belshazzar  "  is  the  most 
important  and  most  popular,  and  has  often 
been  produced  throughout  the  country.  A 
complete  list  of  his  works  is  as  follows: 

Seventy  songs,  written  between  iS^o  and 
1873,  °f  which  "  When  you  and  I  were 
young,  Maggie,"  sold  in  (he  extent  of  250,- 
coo  copies  ;  "The  Star  of  the  West,"  a  text  book 
for  schools  (1863);  "  Butterlield's  Anthems" 
(1861  1;  Butterfield  s  Collection,"  consisting  of 
sacred  music  (  1S70);  "Belshazzar,"  an  opera 
in  five  acts,  for  solos,  chorus,  and  orchestra, 
given  under'  the  composer's  direction  more 
than  350  times  |  [87]  |;  "  Ruth,  the  Gleaner," 
an  opera  in  live  acts,  for  solos,  chorus,  and 
orchestra,  performed  under  the  author's  direc- 
tion 39  times  (1S75);  "The  Requisite,"  for 
singing  schools  and  conventions  (  1.S78);  "The 
Race  for  a  Wife,"  a  comedy  in  three  acts, 
I  1871  1;  "Window  Glass,"  a  comedy  intwoacts 
given  three  times  (  1880);  "  Butterfield's 
System  of  Vocal  Training  and  Music  Readers 
for    Children,"  in  three  books. 


Calliope.  A  musical  instrument,  the 
tones  of  which  are  produced  by  steam  instead 
of  wind.  It  has  a  cylinder,  along  the  top  of 
which  are  valve  chambers  connected  with 
whistles  tuned  according  to  the  diatonic  scale. 
The  instrument  may  be  played  from  a  key- 
board similar  to  that  of  an  organ,  or  the  cylin- 
der can  be  set  to  certain  tunes  and  made  to 
revolve  as  in  barrel  organs.  It  was  invented 
by  I.  C.  Stoddard  of  Worcester,  Mass.  The 
tones  may  be  heard  five  miles  or  more,  and  at 
a  distance  are  quite  pleasing. 

Candidas,  William,  was  born  in  1845, 
at  Philadelphia,  of  German  parents.  He 
received  a  good  general  education,  to  which 
was  added  an  excellent  musical  training.  He 
played  the  piano  and  organ,  and  became  a 
baritone  singer  in  a  German  musical  society  of 
Philadelphia.  His  mother  was  a  good  singer 
and  helped  to  form  his  taste.  He  followed 
the  trade  of  his  father,  that  of  a  piano  key- 
board maker.  Being  called  to  New  York  by 
the  Steinways,  he  there  had  an  opportunity  to 
hear  nearly  all  of  the  great  artists.  He  made 
his  first  operatic  appearance  as  Max  in  "Frei- 
schiitz,"  with  such  success  as  to  lead  him  to 
devote  himself  to  the  stage.  Accordingly  he 
went  to  Germany  and  studied  for  some  time, 
making  his  professional  debut  at  Weimar  in 
"  Stradella."  He  was  offered  and  accepted 
an  engagement  at  the  Royal  Opera,  Hanover, 
and  afterwards  at  the  Hamburg  opera.  In 
1865  he  had  married  the  widowed  daughter  of 
the  late  Henry  Steinway,  but  just  after  leaving 
Hanover  his  wife  died.  This  caused  him  to 
give  up  the  stage,  but  he  devoted  himself  more 
closely  than  ever  to  his  art.  He  went  to  Italy 
and  studied  under  Rouchette  at  Milan.  After 
this  he  appeared  in  the  principal  cities  of 
West  Germany,  and  was  well  received. 
During  a  portion  of  1879  and  1880  he  sang  at 
Her  Majesty's,  London,  and  in  the  autumn  of 
1880  accepted  an  engagement  at  Frankfort-on  - 
the-Main,  where  he  still  (1883)  remains, 
making  occasional  visits  to  this  country.  In 
June,  1 88 1,  he  sang  at  the  Chicago  Samgerfest, 
and  at  the  New  York,  Cincinnati,  and  Chica- 
go Mav  Festivals  of  1882. 


Cappa,  Carlo  Alberto,  one  of  jhe 
most  celebrated  of  American  bandmasters, 
was  born  at  Allessandria,  in  the  kingdom  of 
Sardinia,  Dec.  9,  1834.  His  father  was  a 
major  in  the  Sardinian  army,  and  fought  under 
Napoleon  in  the  great  campaign  against  Rus- 
sia. At  the  age  of  ten  years  he  entered  the 
Royal  Academy  at  Asti  (to  which  only  sol- 
diers' sons  are  admitted)  and  remained  there 
five  years.  He  then  enlisted  in  the  band  of 
the  Sixth  Lancers  and  was  present  at  the  bat- 
tle of  Novara  in  1849.  He  remained  in  the 
army  six  years,  and  then  enlisted  in  the 
U.  S.  Navy,  shipping  on  board  the  frigate 
Congress  at  Genoa.  The  cruise  lasted  two 
years.  On  Feb.  22,  1858,  he  arrived  at  New 
York.  As  a  member  of  Ned  Kendall's  band 
he  visited  the  principal  American  cities. 
Later,  he  became  a  member  of  Shelton's 
band,  and  in  i860  entered  the  7th  Regiment 
band,  of  which  he  was  elected  bandmaster  in 
1881.  For  seven  years,  beginning  with  1869, 
he  was  first  trombone  player  in  Thomas' 
orchestra.  As  conductor  of  the  concerts  in 
Central  Park,  at  Coney  Island,  Brighton 
Beach,  and  other  places,  he  has  given  great 
satisfaction  and  won  a  substantial  reputation. 

Carlberg,  Gotthold,  was  born  June  13, 
1838,  at  Berlin,  where  his  father  was  a  mer- 
chant. Almost  from  infancy  he  was  used  to 
hearing  matinee  performances  of  chamber 
music  (held  in  the  sa/011  of  Leon  de  St.  Lubrin, 
violinist,  who  lived  in  the  same  house)  in 
which  Liszt,  Mendelssohn,  Schulhoff,  Rice, 
and  other  eminent  musicians  took  part.  At 
he  age  of  four  years  he  began  the  study  of  the 
piano  under  the  organist  Thiele.  When  nine 
he  left  school  and  entered  the  gymnasium.  He 
was  intended  for  a  physician  by  his  father,  but 
never  relinquished  the  study  of  music,  and  at 
fifteen  began  to  take  harmony  lessons  of  Dr. 
A.  B.  Marx.  On  arriving  at  the  age  of  eigh- 
teen his  father  gave  up  his  long  cherished 
desire  and  allowed  the  young  man  to  follow 
the  bent  of  his  nature.  Soon  after  he  went  to 
Paris,  and  from  there  to  London.  In  1857  he 
came  to  New  York,  where  he  finally  succeed- 
ed  in   obtaining  the  post  of  musical  editor  of 


HANDBOOK   OF    AMERICAN    MUSIC    AND    MUSICIANS. 


the  "Staats  Zeitung."  Becoming  acquainted 
with  Carl  Anschtltz,  he  continued  his  musical 
studies  with  that  gentleman,  and  received  his 
first  initiation  into  the  art  of  conducting.  In 
1S61  he  was  compelled  to  return  to  Europe 
and  enter  the  ranks  of  the  Prussian  army, 
being  a  Prussian  subject.  After  eight  months 
of  service  he  was  released  on  account  of  sick- 
ness, and  became  editor  of  the  "Neu  Berliner 
Musikzeitung."  In  1863  he  organized  an 
orchestra,  called  "  Carlhergscher  Orchester- 
verein,"  with  which  he  gave  over  150  con- 
certs. He  left  Berlin  in  November,  1864, 
and  proceeded  to  Vienna,  where  he  studied 
the  voice  under  Lugi  Salvi  and  H.  M.  Wolf. 
He  was  persuaded  to  organize  an  orchestra 
for  the  purpose  of  giving  classical  concerts, 
but  the  scheme  proved  a  failure.  The  ensuing 
three  years  were  spent  in  Brunn  as  leader  of 
the  philharmonic  concerts  and  teacher  of 
singing.  In  1869  he  returned  to  Vienna,  and 
wrote  two  works,  "  Ueber  Gesangkunst  und 
Kunstgesang,"  a  treatise  on  the  culture  of  the 
voice,  and  "  Die  Kunst  Saenger  zu  Werden." 
During  the  season  of  1870  he  was  engaged  as  di- 
rector of  the  opera  at  Trieste,  after  which  he 
made  a  tour  of  Northern  Italy.  Returning  to 
Vienna  again  in  June,  he  was  engaged  by 
Strauss  for  a  season  at  Warsaw,  Poland.  From 
there  he  in  June,  1871,  went  to  St.  Petersburg 
in  the  capacity  of  conductor.  Not  long  after  he 
came  to  the  United  States  for  the  second  t  ime 
having  been  engaged  by  Prince  George 
Galitzin  to  conduct  a  series  of  Russian  con- 
certs here.  These  proved  a  failure,  and  he 
was  engaged  by  Max  Maretzek.  For  the  next 
few  years  he  was  teacher,  writer  and  con- 
ductor, and  engaged  in  various  enterprises. 
In  1877  he  became  editor  of  the  "Music  Trade 
Review,"  New  York,  which  was  discontinued 
about  the  beginning  of  1880.  During  the 
season  of  1878-7^  he  gave  a  series  of  sym- 
phony concerts  at  Checkering  Hall,  wielding 
the  baton  over  Thomas'  orchestra.  Mr.  Carl- 
berg  died  at  New  York,  April  27,  1881,  just  a 
few  days  before  he  intended  to  set  sail  for 
Germany.  His  death  was  caused  by  overwork. 
CillTOllO,  TERESA,  the  well-known  pian- 
ist, was  born  at  Caraccas,  Venezuela,  South 
America,  Dec.  22,  1S53.  She  descended  from 
a  distinguished  Spanish  family.  When  only 
two  years  old  she  could  sing  operatic  airs,  and 
at  the  age  of  seven   had   mastered    Thalberg's 


fantasia  on  "Norma."  Her  earliest  lessons 
were  received  from  her  father.  Subsequently 
for  a  short  time  she  received  lessons  of  Julius 
Hoheni,  a  German  professor.  In  the  latter 
part  of  1862.  being  only  nine  years  of  age,  she 
appeared  in  New  York,  where  she  had  an  in- 
terview with  Gottschalk  and  played  with  him 
on  the  piano  a  four-hand  piece.  In  a  short 
time  she  had  learned  his  "Jerusalem"  and 
"  Bananier"  so  as  to  be  able  to  play  them 
without  the  score,  he  kin  lly  giving  her  some 
advice  concerning  the  rendering  of  the  pieces. 
After  appearing  in  New  York  she  went  to  Bos- 
ton, and  at  both  places  created  a  great  sensa- 
tion on  account  of  her  remarkable  playing  for 
one  so  young.  Since  that  lime  she  has  travel- 
ed extensively,  giving  concerts  in  various 
parts  of  the  country  and  elsewhere.  She 
has  written  a  few  piano  pieces  of  fair 
order. 

Cartel*,  Henry,  was  born  at  London, 
England,  in  1S37,  and  commenced  his  career 
as  an  organist  in  that  city.  Early  in  life  he 
went  to  Canada,  and  at  the  age  of  seventeen 
became  organist  of  the  English  Cathedral  of 
Quebec,  where  he  established  the  first  Cana- 
dian oratorio  society  and  successfully  gave 
eight  oratorios.  Upon  the  erection  of  (he 
organ  in  the  Music  Hall,  Boston,  he  removed 
there  and  became  one  of  the  regular  perform- 
ers on  the  instrument,  and  also  chorister  of 
the  Church  of  the  A  Ivent.  He  subsequently 
removed  to  Providence,  R.  I.,  and  in  1S73  t(> 
New  York,  his  weekly  recitals  on  the  large 
organ  in  Trinity  church  bringing  him  much 
into  nr>tice.  In  1S80  he  accepted  a  position  as 
the  piano,  voice,  organ,  and 
nusic,  in  the  College  of  Music. 
Phis  he  resigned  early  in  1S83  to 
f  the  music  of  Plymouth  Church, 


J  professor 

I  lecturer 
Cincinnai 
take  char 
Brooklyn. 

I      Car;,,    Anna   Lens 

J  most  celebrated  contralto  singers,  was  born  in 

1  1844,*  at  Wayne,  Kennebec  Co.,  Maine, 
where  her  father  was  a  physician.  The  family 
consisted  of  six  children,  of  whom  Anna  was 
the  youngest.  She  led  a  life  of  song  almost 
from  infancy,  and  when  fifteen  years  of  age- 
was  sent  to  Boston,  where  her  el  [er  brother 
lived,  to   study   music.     Lyman    VV.    Wheeler 


of  A 1 


I  he  \ -.ir  o)  her  birth  is  variously 
1844,  and  1846. 


HANDBOOK   OF  AMERICAN    MUSIC  AND  MUSICIANS. 


was  her  principal  teacher,  but  she  also  took 
lessons  of  several  other  Boston  teachers.  Dur- 
ing her  six  years  residence  in  Boston  she  sang 
in  the  churches  of  Dr.  Stowe  ( Bedford  Street)-, 
Dr.  Lowell,  and  Dr. Huntington.  At  the  end 
of  this  lime  she  very  naturally  turned  her  at- 
tention toward  Europe  as  the  only  place  where 
a  singer  could  gain  a  finished  education.  A 
benefit  concert  furnished  her  with  means,  and 
she  proceeded  to  Milan,  where  she  placed 
herself  un  ler  Corsi.  In  Dec,  1867,  having 
made  rapid  progress,  she  was  induced  to  go 
with  an  Italian  opera  company  to  Copenhagen, 
where  she  made  her  debut  on  the  stage.'  The 
trip  din  not  prove  very  successful,  and  she  re- 
turned to  Baden-Baden,  Germany,  and  con- 
tinued her  stu  lies  under  Mine.  Viardot-Gar- 
cia.  From  there  she  went  to  Hamburg,  where 
she  met  with  success.  She  then  accepted  an 
engagement  with  M.  Slrakosch  to  sing  in 
Stockholm  during  the  season  of  1S68.  The 
summer  of  1869  was  spent  at  Paris,  and  a  brill- 
rant  engagement  at  Brussels  followed.  Short- 
ly after  she  wrs  engaged  for  three  years  by 
Strakoseh.  In  the  spring  of  1870  she  sang  at 
Dairy  Lane,  London,  and  Sept.  iooffhesame 
year  made  her  first  appearance  in  New  York, 
singing  with  Nilsson.  After  this  she  sang 
throughout  the  country  at  the  principal  cities, 
an  I  created  the  greatest  enthusiasm.  In  1875 
she  was  in  St.  Petersburg,  where  she  caused  a 
furore  by  her  singing.  She  returned  to  the 
United  Stales  in  1876.  In  June,  18S0,  she 
went  to  England,  where  she  remained  some 
time.  She  sang  at  the  Cincinnati  May  Festi- 
val of  18S2,  and  has  appeared  at  various 
other  places  since  her  return.  Quite  recently 
(  1882)  she  wrs  married  to  a  Mr.  Raymond. 
Her  voice  is  riah,  deep  and  sweet,  and  well 
managed.  Mrs.  Ada  Cary-Sturgis,  a  sister  of 
Anna,  who  also  possesses  a  fine  contralto 
voice,  has  lately  appeared  in  concerts  with 
much  success. 

Centennial  Cantata.  A  cantata  writ- 
ten to  celebrate  the  100th  anniversary  (  187(1) 
of  our  existence  as  a  nation.  The  music  is  by 
Dudley  Buck.  It  was  performed  at  the  open- 
ing of  the  great  Centennial  Exhibition,  Phila- 
delphia, May  10,  1S76.  The  autograph  is 
preserved  in  the  archives  of  the  Connecticut 
Historical  Society.  The  Centennial  March, 
also  rendered  at  the  opening  of  the  Exhibition; 


J  was  composed  by  Richard  Wagner,  for  which 
he  received  S5000. 

CliadwK'k,  Gkor<:e  W.,  was  born  Nov. 
13,  1S54,  at  Lowell,  Mass.,  but  in  i860  his 
parents  removed  to  Lawrence.  His  first  in- 
struction in  music  was  received  from  his  elder 
brother,  whom  he  succeeded  as  organist  at 
one  of  the  local  churches.  After  leaving 
school  he  entered  the  office  of  his  father,  who 
was  an  insurance  agent  and  desired  that  his 
son  should  follow  the  same  business,  but  after 
remaining  there  three  years  he  gave  it  up  and 
adopted  music  as  a  profession.  This  was  in 
1S75.  ^n  lne  following  year  he  went  to 
Olivet,  Mich.,  where  he  had  charge  of  the 
musical  department  of  the  college.  Despite 
the  remonstrances  of  his  father,  in  1877  he 
departed  for  Europe,  going  to  Germany, 
where  he  studied  for  two  years  under  Jadas- 
sohn and  Reinecke.  The  former,  according 
to  his  own  expression,  was  almost  a  father  to 
him,  and  gave  him  more  than  usual  encour- 
agement. In  July,  1879,  he  left  Leipsic,  and 
after  traveling  some  in  Germany,  settled  at 
Munich,  where  he  studied  theory  and  organ 
playing  with    Rheinberger  for  nearly  a  year. 

Previous  to  going  to  Germany,  Mr.  Chad- 
wick  had  written  many  songs  and  piano  pieces, 
two  trios  for  strings,  and  two  overtures. 
While  at  Leipsic  he  wrote  his  two  quartets 
for  stiings  and  the  overture  to  "Rip  Van 
Winkle,"  all  of  which  were  publicly  per- 
formed with  good  success.  His  greatest  work, 
the  symphony  in  C,  was  projected  or  begun 
while  he  was  at  Munich,  and  finished  after  his 
return  home,  which  occurred  early  in  1880. 
It  was  first  performed  from  manuscript  at  the 
Harvard  Musical  Association  symphony  con- 
certs this  year  (  1NS2).  His  overture  to  "  Kip 
Van  Winkle"  was  also  performed  at  the  Han- 
del and  Haydn  Festival  in  May,  1880.  Some 
of  his  other  works  have  been  performed  at 
various  times. 

Mr.  Chadwick  is  at  present  (June,  1883)  a 
resident  of  Boston,  where  he  is  organist  of 
Park  Street  Church.  His  time  is  devoted  to 
leaching,  composing,  and  conducting,  but  it  is 
to  the  latter  two  branches  that  he  gives  his 
greatest  energies.  Having  given  such  early 
and  substantial  evidences  of  his  talents,  his 
future  course  will  be  watched  with  great 
interest. 


HANDBOOK  OF  AMERICAN  MUSIC  AND  MUSICIANS. 


Chautauqua   Musical    Reading 

Club.  An  organization  having  for  its  object 
the  assistance  of  such  persons  as  desire  to  per- 
sue  a  course  of  reading  and  study  in  the  science 
and  history  of  music.  The  plan  of  operation 
is  similar  to  that  of  the  Chautauqua  Literary 
and  Scientific  Circle.  Members  are  admitted 
upon  answering  certain  questions  and  paying 
an  annual  feeof  either  75  cents  or  Si. 50.  The 
course  of  reading,  which  covers  a  period  of 
four  years  and  may  be  pursued  at  home,  is 
divided  into  two  portions,  scientific  and  liter- 
ary. Forty  minutes  each  day  will  suffice  to 
complete  the  course  in  the  required  time. 
The  affairs  of  the  Club  are  regulated  by  a 
board  of  counsellors  consisting  of  George  F. 
Root,  H.  R.  Palmer,  E.  E.  Ayres,  W.  F. 
Sherwin,  and  C  C.  Case.  Prof.  E.  E.  Ayres^ 
Richmond,  Va.,  is  secretary.  Books  are  fur- 
nished at  reduced  prices.  The  course  of 
reading  for  the  first  year  (1883-84 — the  year 
commencing  with  October  and  ending  with 
June)  includes  the  following  works  :  Palm. 
er's  Theory  of  Music,  Richter's  Fundamen- 
tal Harmonies,  The  Great  German  Composers 
(Ferris),  Musical  Forms  (Pauer),  Life  of  Bach 
(Shuttleworth),  Life  of  Handel  (Schrelcher), 
Music  of  the  Bible  (Hutchinson),  Old  Hun- 
dredth Psalm  Tune,  History  of  Music,  vols.  1 
and  2  (Ritter),  Readings  from  Burney  and 
Hawkins  and  in  ancient  Greek  and  Roman 
music,  The  Soprano,  Money  and  Music,  and 
Curiosities  of  Music  (Elson). 

Chicago.  Chicago  can  not,  strictly 
speaking,  at  this  stage  of  its  history  be  called 
a  musical  city.  It  is  great  in  commercial 
activity  and  has  much  wealth,  but  it  is  quite 
moderate  in  its  support  of  the  arts.  Opera  and 
star  companies  are  very  well  patronized,  but 
our  home  organizations  have  to  struggle  for 
life.  Music  has  not  become  a  necessity  here, 
as  in  the  older  cities  of  the  country.  We  have 
but  three  or  four  important  musical  societies, 
and  they  are  generally  burdened  by  debt. 

The  Apollo  Club  was  founded  directly 
after  the  big  fire  in  October,  1871,  by  S.  G. 
Pratt  and  George  B.  Lyon.  It  first  existed  as 
a  male  chorus.  Its  first  conductor  was  Mr. 
S.  ( '».  Pratt,  followed  by  Mr.  Dohn,  who  in 
turn  gave  way  to  Mr.  Tomlins,  the  present 
director.  Under  the  latter  gentleman  it 
became  a  mixed  chorus,  and  numbers  some 
150    voices.      It    lias   given   three  regular  con. 


certs  each  year  since  its  organization,  and 
now  annually  performs  at  Christmas  time 
Handel's  oratorio  of  the   "  Messiah." 

The  Beethoven  Society.  This  Society 
was  organized  by  Carl  Wolfsohn  some  ten 
years  ago  (1873),  and  has  continued  ever 
since  under  his  direction.  It  is  a  mixed 
chorus,  and  brings  out  the  important  modern 
works,  in  three  concerts  each  year.  The  best 
productions  of  Max  Bruch,  Hofmann,  Gade, 
Mendelssohn,  Beethoven,  Verdi,  and  Wagner, 
have  been  given. 

The  Mozart  Society.  This  Society  con- 
sists of  a  select  chorus  of  about  forty  male 
voices.  It  has  had  two  conductors,  Mr.  Hans 
Balatka,  and  the  present  director,  Mr.  Bartlett. 
Three  concerts  are  given  every  year,  and  the 
larger  works  for  male  voices  brought  forward. 
Mr.  E.  G.  Newhall,  the  secretary,  has  accom- 
plished much  in  giving  it  an  important  place 
among  our  home  societies. 

The  Festival  Chorus  was  organized 
under  the  direction  of  Theodore  Thomas, 
assisted  by  Mr.  Tomlins.  It  consists  of  600 
voices,  and  large  festivals  are  to  be  given  by 
it  every  two  years,  the  first  of  which  was  held 
in  May,  1882.  (See  May  Festivals).  The 
cost  of  the  Festival  was  very  large — over 
#60,000 — and  was  not  fully  met  by  the  sale  of 
tickets.  A  fund  has  to  be  raised  each  year  of 
the  Festival  to  secure  Mr.  Thomas  and  the 
committee  against  loss. 

The  Philharmonic  Society,  under  the 
direction  of  Mr.  Liesegang,  gives  three  con- 
certs each  year.  It  consists  of  some  fifty  men, 
and  includes  all  of  the  best  orchestral  players 
in  the  city.  The  concerts  are  mostly  devoted 
to  symphonies,  although  other  works  are 
given. 

German  Societies.  There  are  one  or  two 
German  singing  societies  in  th*city,  but  at 
present  none  that  give  public  concerts. 

SUMMER-NlGHT  CONCERTS.  Every  sum- 
mer, Theodore  Thomas  with  an  orchestra  of 
fiftv  musicians  gives  six  weeks  of  nightly  con- 
certs in  the  Exposition  building,  which  are 
well  supported. 

The  Hekshev  School  of  Musical  Art. 

This   school    was   founded   some    seven    years 

since    by   Mrs.    Sara   B.    Hershey    (now    Mrs. 

j  Eddy),  assisted  by  H.  Clarence  Eddy.      Up  to 

I  date  (April,  1883),  there  have   been  some  405 

concerts  given,  including  125  organ  recitals  by 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Mr.  Eddy,  who  is  an  accomplished  organist. 
This  school,  although  the  result  of  private 
enterprise,  lias  its  own  concert  hall,  contain- 
ing a  ?6ooo  pipe  organ,  and  is  well  arranged 
to  hold  a  first-class  position  as  a  musical  insti- 
tution. It  has  a  regular  four  years'  course, 
and  a  "post-graduate"  course  following. 

Chicago  College  of  Musk  .  This  institu- 
tion is  under  the  direction  of  Dr.  F.  Ziegfeld, 
and  is  a  private  enterprise.  It  lias  been  in 
existence  over  twelve  years,  and  has  a  regular 
course  of  study. 

Private  Instruction.  There  is  a  large 
number  of  first-class  teachers  in  the  city,  and 
the  greater  percentage  of  musical  instruction 
is  given  by  them. 

Music  Houses  and  Music  Halls.  Chicago 
enjoys  a  large  music  trade,  and  some  £3,500,- 
000  worth  of  business  in  that  line  is  done  each 
year — mostly  with  the  Western  States.  There 
are  a  number  of  music  halls,  the  most  important 
of  which  is  Central  Music  Hall.  This 
beautiful  hall  will  hold  3000  people,  and  was 
built  through  the  energy  of  the  late  George 
15.  Carpenter.  C.  H.  BrITTAN. 

Chicago  College   of  Music.    This 

institution,  one  of  the  leading  of  its  kind  in 
Chicago,  was  founded  in  1867,  by  the  present 
president,  Dr.  F.  Ziegfeld.  It  had  scarcely 
earned  a  permanent  position  among  similar 
institutions  and  a  growing  reputation  when 
the  great  fire  of  October,  1871,  occurred, 
which  destroyed  the  College  rooms,  library 
and  other  property.  In  a  few  weeks,  how- 
ever, new  rooms  were  secured  and  the  school 
re-opened.  It  now  (18S6)  occupies  a  mag- 
nificent building  on  the  corner  of  State  and 
Randolph  streets.  Then'  is  also  a  branch  of 
the  College  located  on  West  Adams  street  for 
the  accommodation  of  patrons  residing  in 
West  Chicago.  The  College  is  incorporated 
under  the  name  given  above,  an  I  is  governed 
by  a  board  of  eleven  directors.  The  faculty 
numbers  nearly  twenty-live,  and  includes 
some  of  the  most  widely-known  teachers  in 
the  West.  Dr.  Ziegfeld  has  from  the  first 
devoted  all  his  energies  to  the  College,  and 
its  success  is  hugely  due  to  his  superior  ability 
as  an  educator  and  manager.  The  course  of 
study  embraces  every  department  of  music  and 
the    principal    modern    languages.     Students 


may 


?e   of    Doctor  of  Music 


after  complying  with  the  necessary  conditions 


Chickering,  Jonas,  was  bom  April  5, 
1797,  at  New  Ipswich,  N.  II.  His  education 
was  limited  to  that  afforded  by  the  common 
school.  At  the  age  of  seventeen  years  he  was 
apprenticed  to  a  cabinet  maker  in  his  native 
town.  Two  years  after,  he  volunteered  1"  both 
tunc  and  repair  a  certain  piano  (and,  by  the 
way,  the  oidy  one)  in  the  place.  Proving 
successful,  he  seems  to  have  turned  his 
thoughts  towards  the  manufacture  of  pianos, 
and  accordingly  in  1S1S,  being  of  age,  he  went 
to  Boston  and  entered  the  establishment  of  a 
Mr.  Oshorn  to  learn  the  trade.  In  1S23  he 
founded  the  present  extensive  house  of  Chick- 
ering  &  Sons  (See  CHICKERING  &  Sons)  by 
setting  up  in  business  for  himself.  He  then 
gradually  introduced  the  improvements  which 
have  made  his  name  famous  and  his  pianos 
among  the  best  manufactured.  Mr.  Checkering 
was  a  member  of  many  musical  societies, 
liberally  patronized  the  arts,  and  held  several 
offices  of  importance.  He  died  at  Boston, 
Dec.  9,  1853. 

Chickering  &  Sons,  Boston  and 
New  York.  This  celebrated  American  piano 
manufacturing  firm  was  established  at  Boston, 
April  15,  1823,  by  Jonas  Chickering  (For 
some  particulars  of  his  life,  see  preceding 
article).  At  that  early  time  the  piano  had 
not  reached  its  present  high  state  of  develop- 
ment, anil  piano  making  in  the  United  States 
was  in  its  infancy.  Considerable  impetus  was 
given  to  the  business  by  a  Scotchman  named 
Stewart,  who  induced  Jonas  Chickering  to 
enter  into  partnership  with  him.  Before  his 
advent,  however,  American  energy  and  skill 
had  awakened  to  a  partial  realization  of  the 
great  future  before  them  in  the  production  of 
pianos.  Two  years  later,  Stewart  returned  to 
Europe,  leaving  Mr.  Chickering  alone.  This 
was  previous  to  the  year  1S23,  in  which  the 
firm  of  Chickering  was  established,  and  its 
success  is  entirely  due  to  the  man  whose 
name  it  bear.-,. 

In  1837,  Mr.  Chickering  produced  the  first 
square  piano  with  an  iron  frame  complete  ex- 
cept the  wrest-pin  block,  and  in  1840  the  first 
full  iron  frame  for  a  grand  piano  ever  made. 
Three  years  later,  he  invented  and  patented 
an  improvement  of  great  importance  at  that 
time.  On  the  upper  side  or  top  of  the  plate, 
covering  the  head-block,  he  introduced  a  cast- 
iron  flange,  which  was  drilled   for  each  string 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


to  pass  through,  thus  giving  a  firm  upward 
tendency  to  the  strings  and  at  the  same  time 
forming  a  transverse  strengthening  bar.  Grand 
pianos  of  this  construction  were  sent  to  the 
first  Great  International  Exhibition  held  in 
London,  in  1S51,  where  they  created  a  pro- 
found sensation  and  were  awarded  a  prize 
medal.  This  method  of  construction  was  dis- 
continued in  the  year  1856,  and  the  present 
method  of  casting  a  solid  iron  flange  on  the 
under  side  of  the  iron  frame  into  which  the 
"agraffes"  are  screwed,  was  adopted.  In  1845 
the  circular  scale  as  used  in  square  pianos  was 
invented  and  tested  by  Mr.  Chickering,  whose 
ceaseless  activity  was  constantly  directed 
toward  the  improvement  of  his  instruments. 
The  number  of  patents  granted  the  hotfse  is 
very  large,  and  its  history  is  inseparably  con- 
nected with  the  history  of  piano  making  in 
America. 

In  1853,  Mr.  Chickering  died,  since  when 
the  business  has  been  successfully  carried  on 
by  his  sons,  under  the  old  firm  name.  Once, 
in  December,  1852,  the  firm  suffered  a  heavy 
loss  by  fire,  but  immediately  rebuilt  on  a  much 
more  extensive  scale.  Their  pianos,  of  which 
they  have  manufactured  70,000,  are  favorably 
known  all  over  the  world,  and  to  their  excel- 
lence is  largely  due  the  fact  that  American 
pianos  lead  all  other  makes. 

China.  One  of  the  early  American  hymn 
tunes,  at  one  time  very  popular,  and  still  sung. 
It  was  composed  by  Timothy  Swan,  and  prob- 
ably first  published  in  his  collection  of  church 
music,  Federal  Harmony,  which  appeared 
in  1785,  he  being  at  that  time  twenty-eight 
years  of  age.  It  was  originally  set  to  the 
words,  "Why  do  we  mourn  for  dying  friends," 
by  Dr.  Watts,  and  is  rarely  ever  employed  but 
with  them. 

Chorister's  Companion.  A  collec- 
tion of  sacred  music  edited  and  published  by 
Simeon  Jocelyn,  of  New  Haven,  Conn.,  in 
1788.  His  name  is  not  attached  to  any  of  the 
pieces  which  it  contains,  but  it  is  supposed 
that  some  of  them  were  of  his  composition. 
A  supplement  to  the  work   was  published   in 

1793- 

Christian  Harmony.  1.— A  collec- 
tion of  sacred  music  published  at  Exeter, 
N.  H.,  in  1805,  by  Jeremiah  Ingalls.  It  con- 
tained 200  pages  and  a  good  amount  of  music, 
but  seems  not  to  have  been  a  financial  success. 


2.  A  work  issued  in  1794  (according  to 
John  W.  Moore)  by  Andrew  Law,  a  native  of 
Cheshire,  Conn.  It  numbered  64  pages,  and 
was  engraved  in  a  kind  of  patent  notes  of 
which  Mr.  Law  was  the  inventor. 

Church  Co.,  The  John,  Cincinnati, 
Ohio.  This  music-publishing  firm,  one  of  the 
most  prominent  in  the  United  States,  was  estab- 
lished in  1854,  by  John  Church.  At  that  time 
the  West,  musically  speaking,  was  just  begin- 
ning to  show  signs  of  growth.  To  this  fact  and 
to  excellent  management  the  remarkable  suc- 
cess of  the  firm  is  no  doubt  due.  Along  with  the 
publication  of  music,  an  extensive  business  is 
carried  on  in  the  line  of  general  musical  mer- 
chandise. The  firm  publishes  many  popular 
and  standard  works.  Among  these  are  "  The 
New  Musical  Curriculum,"  by  Dr.  George  F. 
Root,  a  piano  instructor  of  more  than  ordinary 
merit;  "The  School  of  Singing,"  by  F.  W. 
Root,  an  excellent  work;  "Palmer's  Theory 
of  Music,"  by  Dr.  II.  R.  Palmer,  a  very  con- 
cise and  handy  little  volume  ;  and  the  "Graded 
Singer"  series  for  day  schools.  With  the 
above  must  also  be  included  the  "  Gospel 
Hymns"  series,  of  which  the  firm  is  part 
publisher.  The  latter  work  has  sold  to  the 
extent  of  millions  of  copies,  and  is  known  in 
every  civilized  land.  Wise  and  judicious 
management  during  the  past  quarter  of  a  cen- 
tury or  more  has  been  conducive  to  the  rapid 
growth  and  solid  financial  reputation  of  the 
firm,  which,  while  achieving  its  own  deserved 
success,  has  done  much  by  its  broad  and  lib- 
eral policy  toward  elevating  and  extending  the 
musical  taste  of  Cincinnati  and  the  section  of 
country  tributary  to  it. 

Church's     Musical     Visitor.      A 

32-page  monthly  magazine,  published  by 
the  foregoing  firm.  It  is  devoted  to  the  in- 
terests of  music  in  general.  Dr.  Root  is  one  of 
its  chief  contributors.  Since  the  organization 
of  the  Chautauqua  Musical  Reading  Club  it  has 
been  designated  as  the  official  organ  of  that 
society. 

Cincinnati.  The  prominence  this  city 
has  been  honored  with  as  an  art  center  is 
founded  on  the  realities  of  a  magnificent  music 
hall,  one  of  the  largest  and  most  complete  or- 
gans in  the  world,  an  unsurpassed  chorus  of  six 
hundred  and  fifty  members,  and  the  homes  of 
nearly  three  hundred  thousand  music-loving 
people.     This   perfected  state  of  art  elements 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


35 


was  not  an  instantaneous  transition  from  an  en- 
tirely absent  condition,  but  represents  the  out- 
growth of  a  gradual  development  since  1797, 
when  the  first  musical  organ  was  the  formation 
of  a  band,  under  the  leadership  of  Gen.  Wil- 
kinson, at  Fort  Washington.  This  was  soon 
succeeded  by  another  in  the  management  of  lo- 
cal influences,  and  was  directed  by  Mr.  Albert 
Ratel.  His  achievements  were  of  a  sufficient 
incentive  momentum  that  in  1820  a  musical 
academy  was  founded  and  placed  under  the 
superintendence  of  Prof.  J.  W.  Hoffman. 
Principally  in  the  course  of  instruction  was 
attention  devoted  to  band  music  and  band 
instruments,  such  as  clarinet,  oboe,  horns,  etc. 
During  this  period  the  first  singing  society  was 
organized  and  called  the  Haydn  Society  of 
Cincinnati.  The  production  of  Haydn's 
oratorio,  "  Creation,"  marked  the  greatest  ar- 
tistic accomplishment.  The  concert  was  given 
May  25,  1823.  Mr.  Charles  Fox  continued 
its  leader  until  their  forces  were  usurped  by  the 
first  German  Gesang-Verein,  in  1830.  The 
following  year  a  band  of  about  thirty  Saxons 
was  brought  to  this  country,  and,  finding  in 
Cincinnati  the  most  liberal  appreciation,  they 
determined  to  reside  here.  Now,  with  the  for- 
eign artists  and  local  musicians,  a  force  requi- 
site to  render  symphonies  was  organized,  and 
a  series  of  concerts  planned.  For  a  space  cov- 
ering six  years  these  entertainments  were  suc- 
cessfully conducted,  under  the  leadership  of 
Mr.  Michael  Brand.  The  generous  donations 
of  several  wealthy  citizens  afforded  means  for 
securing  the  Theodore  Thomas  orchestra. 
This  undertaking  was  augmented  by  the  erec- 
tion of  the  fine  Music  Hall  and  great  organ, 
and  the  formation  of  the  grand  chorus. 

The  Welsh  Singing  Sociei-y.  Since 
its  organization  in  the  fall  of  1871,  this  chorus 
has  been  one  of  the  most  active.  The  object 
of  its  organization  was  to  promote  a  more 
friendly  intercourse  among  the  Welsh  singers 
of  the  city.  The  success  attending  its  first 
meetings  was  so  rapidly  augmented  that  the 
works  selected  for  their  study  were  only  the 
best  which  have  ever  been  written,  such  as 
Mendelssohn's  "St.  Paul,"  Handel's  "  Mes- 
siah," etc.  The  Society  meets  every  Wednes- 
day evening  in  the  Welsh  church,  situated  be- 
tween Sixth  and  Seventh  streets,  on  the  west 
side  of  College.  It  has  been  among  the  most 
successful    competitors    in    the    great    Welsh 


musical  festivals  held  throughout  the  state. 
Its  accurate  and  animated  rendering  of  Dr. 
Joseph  Parry's  "  Blodwen,"  at  the  last  Festi- 
val, which  was  held  at  Columbus,  secured  them 
the  three  prizes  offered  and  contended  for  by 
about  thirty  five  different  societies.  Mr.  Ebe- 
nezer  Bowen,  its  efficient  leader,  was  its  foun- 
der, and  has  ever  since  remained  its  comman- 
der-in-chief, although  at  different  periods  it 
has  given  performances  under  the  direction  of 
visiting  conductors.  The  chorus  numbers 
about  one  hundred  selected  voices,  which  is 
the  main  support  of  their  concerts,  the  accom- 
paniment being  the  piano  and  the  organ. 

The  Orfheus.  This  society  can  be  called 
the  Wagnerian  society  of  Cincinnati,  although, 
of  Tate,  it  has  drifted  far  from  Wagner's  compo- 
sitions as  the  principal  selections  for  its  study. 
Its  organization  occurred  on  the  4th  of  April, 
1868.  Prof.  Carl  Barus  was  elected  conductor 
and  remained  its  leader  until  1SS1.  Under  his 
direction,  Wagner's  "  Flying  Dutchman  "  and 
"Lohengrin"  and  many  selections  from  his 
other  works  were  rehearsed  and  produced.  It 
has  rendered  a  large  number  of  Bach's  works, 
including  the  Passion  Music  according  to  St. 
Matthew,  the  cantata  of"  Ein'  Feste  Burg," 
"Actus  Tragicus,"  and  "  Tantum  Ergo;" 
Beethoven's  "Missa  Solennis,"  and  "Christus 
am  Oelberge"  (Mount  of  Olives);  Chcrubini's 
"Medee"  and  "La  Primavera ;"  Gluck's 
"  Orpheus ;"  Handel's  "Messiah"  and 
"  Dettingen  Te  Deum  ;  "  and  Mozart's  "Re- 
quiem." It  has  produced,  aside  from  these, 
many  works  by  other  composers.  Its  first  pub- 
lic appearance  was  made  in  Harold's 
"  Zampa  "  and  Lortzing's  "Der  Wildschlitz." 
The  society  supported  for  four  years  an  ama- 
teur orchestra,  which  at  one  time  numbered 
forty-five  musicians.  They  gave  several  very 
successful  orchestral  concerts,  rendering  Bee- 
thoven's first  and  second  symphonies,  aside 
from  many  overtures  and  much  dance  music. 
The  society  gives  four  grand  concerts  every 
season,  and  forms  one  of  the  principal  features 
of  the  May  Festival  chorus.  Its  meetings  are 
held  every  Tuesday  and  Friday  evenings  and 
Sunday  afternoons.  Mr.  Arthur  Mees  is  the 
present  conductor,  with  Mr.  Louis  Ergott  as 
assistant.  The  society  also  forms  one 
of  the  supports  of  the  National  Siinger- 
fests,  and  numbers  sixty  male  and  fifty 
female      voices     upon     its     active      member 


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HANDBOOK   OF    AMERICAN   MUSIC   AND   MUSICIANS. 


list.  On  several  occasions  it  has  been  victori- 
ous in  gaining  the  first  prizes  for  the  most  ar- 
listic  performances  at  the  Sangcrfests.  Suffi- 
cient funds  have  been  secured  to  purchase  a 
hall,  which  is  located  at  Twelfth  and  Walnut 
streets. 

Dramatic  Festival  Association  (The) 
assumed  the  notable  characteristics  of  the  May 
Festivals,  and  under  such  glowing  auspices 
presented  six  of  Shakspeare's  greatest  plays  in 
a  manner  never  excelled  in  this  country  be- 
fore, the  list  consisting  of  "Julius  Caesar," 
"The  llaunchback,"  "Much  Ado  About 
Nothing,"  "Othello,"  "Hamlet,"  and 
"  Romeo  and  Juliet."  The  entire  work 
throughout  proved  a  most  brilliant  success,  and 
upon  such  results  a  second  festival  is  being  ar- 
ranged for.  The  casts  will  include  the  most 
prominent  actors  in  Europe  or  America.  The 
casts  of  the  late  festival  included  only  such  per- 
formers as  have  for  years  been  playing  as  indi- 
vidual stars,  such  as  John  McCullough,  Law- 
rence Barrett,  Miss  Mary  Anderson,  Mile. 
Rhea.  Clara  Morris,  James  E.  Murdock,  N.  C. 
Goodwin,  John  Ellsler,  and  others  equally 
celebrated.  Mr.  R.  E.  J.  Miles  was  appointed 
dramatic  director,  and  Mr.  Michael  Brand 
musical  director.  The  festival  was  held  in  the 
Music  Hall,  beginning  April  30th,  and  closing 
May  5th,  1883.  The  tickets  were  disposed  of 
by  auction  to  the  highest  bidder  for  the  choice 
of  seats.  The  receipts  amounted  to  394,90s. 40, 
and  the  expenses  to  about  £50,000. 

Tin:  Cincinnati  M.t.nnkkchor  was  made 

a  society,  May  24,  1S57,  by  the  uniting  of 
the  Liedertafel,  Germania,  and  Sangerbund. 
The  organization  elected  Mr.  A.  Paulsen, 
president,  and  W.  Klausmeyer,  director.  The 
first  concert  which  served  to  attract  public 
attention  was  given  in  Wood's  Theatre,  May  18, 
1S5S,  the  net  proceeds  amounting  to  £166.50. 
Mr.  Carl  Barus  was  appointed  conductor  in 
September   of  tin-   same   year,  and    under  bis 

nl  efforts  "Czar  and  Zimmermann," 
"  Stradella,"   "  Freischtttz,"  and  "  Oberon," 

produced.  The  study  of  this  elevated 
class  of  compositions  necessitated  the  addition 
of  lady  members,  and  the  constitution  was 
amended  to  that  effect,  June  19,  1S60.  In 
1864,  Mr.  A.  Nembach  became  conductor,  and 
under  Ids  direction  the  operas  of  "  Zampa " 
and  "  Dei-  FreischlUz  were  given.  A  discus- 
sion   arose    between    the  active    and    passive 


members,  at  this  time,  the  question  Ik  ing  as  to 
whether  or  not  operas  should  longer  be  ren- 
dered, and  resulted  in  the-  active  members 
withdrawing  and  forming  a  new  society, 
under  the  name  of  "  Orpheus."  For  the  old 
society,  Mr.  H.  G.  Andres  accepted  the 
leadership,  but  resigned  in  1069,  and  Mr.  II. 
Gerold  was  chosen  in  his  stead.  The  society 
remained  under  his  charge  until  1S73,  when 
he  was  in  turn  succeeded  by  Mr.  ( >tto  Singer, 
who  has  since  been  conductor.  Mr.  Henry 
Curth  is  its  president,  and  it  is  in  a  very  flour- 
ishing condition.  Flans  ami  specifications  for 
a  new  hall,  to  be  personal  property,  have 
been  prepared,  and  soon  a  building  costing 
$100,000  will  be  completed.  Meetings  are- 
held  every  Wednesday  and  Sunday  evenings 
in  Fureck  Hall,  where  concerts  are  given 
once  in  four  weeks.  The  membership  is 
divided  into  one  hundred  active  and  two 
hundred  passive  constituents.  The  object  of  the 
society  is  a  more  liberal  culture  in  the  study  of 
classical  music. 

May  Festivals.  These  are  now  a  settled 
feature,  but  one,  it  must  be  remembered, 
which  is  the  outgrowth  of  plans  and  enter- 
prises of  years  ago.  Many  and  varied  ele- 
ments have  combined  to  bring  the  festival  to 
its  j.iesent  standing.  It  may  properly  be  said 
to  have  had  its  origin  in  the  German  festivals 
held  in  Cincinnati  as  early  as  1849.  While  the 
Sangerfest  degenerated  greatly  from  its  origi- 
nal purpose,  it  undoubtedly  led  the  way  to  the 
noble  efforts  which  characterize  our  May  Fes- 
tivals. In  1870,  nearly  twenty  years  later,  in 
the  same  city,  the  second  festival  was 
held,  in  which  nearly  two  thousand  singers 
participated,  and  from  which  went  out  an 
influence  very  powerful  in  establishing  the 
May  festivals.  When,  two  years  later  (  [872), 
the  project  of  bidding  a  national  festival  of 
singers  and  instrumentalists  of  the  United 
Slates,  at  Cincinnati,  was  suggested  to  Mr. 
Thomas,  a  man  of  marvelous  faculty  in  exe- 
cuting tilings  of  magnitude,  he  thought  it  pos- 
sible, and  readily  undertook  the  work  of 
carrying  out  the  suggestion.  This  resulted  in 
the  first  May  Festival,  held  in  1S73.  A  guar- 
antee fund  sufficient  to  meet  all  expenditures, 
should  it  be  necessary,  having  been  raised,  the 
plans  for  the  first  festival  were  acted  upon, 
and  resulted  in  such  a  grand  triumph  that  they 
have  become  a  world-noted  institution.       This 


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37 


was  under  the  direction  of  Mr.  Thomas,  who 
still  holds  the  position  of  chief  director.  The 
chorus  consisted  of  several  societies,  mostly 
from  Cincinnati,  and  numbered  1250.  The 
impossibility  of  securing  adequate  preparation 
and  dicipline  in  foreign  societies  and  the  im- 
practicability of  their  attendance  away  from 
home  at  a  festival  of  a  week's  duration,  was 
seen  at  once  and  consequently  abandoned  at 
subsequent  festivals.  A  single  manual  organ 
of  fourteen  stops  was  used  as  an  accompani- 
ment to  the  chorus.  The  orchestra  numbered 
108,  and  included  Mr.  Thomas'  celebrated  or- 
chestra, aided  by  Cincinnati  musicians  and 
members  of  the  New  York  Philharmonic  So- 
ciety. The  festival  was  well  attended  and  so 
well  received  that  a  request,  signed  by  promi- 
nent citizens,  for  another  festival  was  pre- 
sented at  the  last  concert.  It  was  then  deter- 
mined to  give  the  festival  of  1875.  To  better 
conduct  the  business  management,  the  Cincin- 
nati Biennial  Musical  Festival  Association  was 
incorporated  in  1874,  under  whose  care  the 
succeeding  festivals  have  been  given.  Imme- 
diately the  study  of  the  music  began,  and  in 
the  fall  of  1874  the  chorus  proper  was  organ- 
ized under  Mr.  Singer,  who,  fortunately, 
then  came  to  make  his  home  in  Cincinnati. 
Weekly  part  rehearsals  and  monthly  mass 
rehearsals  were  held,  though  afterward 
changed  to  weekly  mass  rehearsals  for  men 
and  women.  The  chorus  was  splendidly  pre- 
pared and  numbered  nearly  600.  The  or- 
chestra, composed  of  the  same  elements  as 
that  of  the  first  festival,  numbered  101.  The 
soloists  were  Mrs.  H.  H.  Smith  and  Miss 
Whinnery,  sopranos ;  Miss  Annie  Louise 
Cary  and  Miss  Emma  Cranch,  contraltos; 
Messrs.  Winch  and  Alex.  Bischoff,  tenors ; 
and  Messrs.  F.  Remmertz  and  M.  W.  Whit- 
ney, basses.  The  choral  works  performed 
were  "  Elijah,"  the  9th  Symphony,  Brahm's 
"Triumphal  Hymn"  (op.  55),  scenes  from 
Wagner's  "  Lohengrin,"  Bach's  "  Magnifi- 
cat "  in  D,  and  Liszt's  cantata  of  "Prome- 
theus." The  great  success  of  this  festival  led 
to  the  movement,  so  generously  headed  by 
Mr.  Springer,  which  gave  to  Cincinnati  the 
finest  music  hall  and  organ  in  America.  A 
space  of  three  years  elapsed  between  the 
second  and  the  third  festival,  which  took 
place  in  1S78,  this  being  necessary  on  ac- 
count   of    the    non-completion    of    the    hall. 


The  chorus  and  orchestra  were  composed  of 
the  same  elements  as  the  preceding  ones, 
and  respectively  numbered  650  and  101. 
The  soloists  were  Mine.  Pappenheim  and  Mrs. 
Osgood,  sopranos ;  the  contraltos  the  same  as 
in  1875,  with  the  addition  of  Miss  Roll- 
wagen ;  Messrs.  Charles  Adams  and  Fritsch, 
tenors ;  Messrs.  Whitney  and  Remmertz,  bas- 
ses; Sig.  G.  Tagliapietra,  baritone;  and  G. 
E.  Whiting,  organist.  The  program  in- 
cluded the  "  Eroica "  Symphony,  and  the 
following  choral  works:  "Messiah,"  9th 
Symphony,  scenes  from  Gluck's  "Alceste," 
a  "Festival  Ode"  by  Otto  Singer,  Liszt's 
"  Missa  Solennis,"  and  Berlioz's  dramatic 
symphony  "Romeo  and  Juliet."  In  all 
respects  this  was  a  grand  success,  and  from 
the  beginning  the  business  management  has 
been  in  keeping  with  the  high  artistic  direc- 
tion. The  first  festival  came  within  a  trif- 
ling sum  of  clearing  its  expenses,  the  second 
left  a  surplus,  and  the  third,  after  contribut- 
ing to  the  debt  which  remained  upon  the 
organ,  left  the  sum  of  #10,000  as  a  capital 
for  future  festivals.  The  success  was  partly 
due  to  the  enthusiasm  created  here  by  the 
movement  to  build  the  Music  Hall  and  the 
curiosity  abroad  to  see  the  new  structure  and 
hear  the  new  organ.  Starting  with  a  plan 
which  looked  to  the  cooperation  of  all  large 
cities  of  the  West,  they  have  gradually  with- 
drawn from  all  resources  but  their  own,  and 
the  fourth  festival  was  given  in  1880,  with  a 
chorus  of  Cincinnati  singers,  as  large  as  that 
of  1878,  who  displayed  their  proficiency  in  the 
mastery  of  the  great  Beethoven  mass.  The 
chorus  was  superior  in  quality  and  tone  to 
that  of  any  other.  No  pains  were  spared  in  ■ 
the  preparation  for  this  festival.  The  program 
was  undoubtedly  in  advance  of  any  preceding 
one,  the  soloists  the  best  the  country  could 
afford,  and  the  orchestra  in  numbers  the  largest 
and  in  material  incomparably  the  finest  ever 
heard  in  this  country,  and  not  to  be  surpassed 
by  any  in  the  world.  With  all  this,  the  festi- 
val of  1880  could  be  nothing  less  than  a  grand 
success.  This  brings  us  down  to  the  fifth  and 
last  festival,  held  in  1882.  Since  the  last  fes- 
tival, the  chorus  had  been  organized  into  a 
permanent  body  with  Mr.  Arthur  Mees  as 
director.  Never  before  did  it  receive  such 
long  or  more  faithful  and  competent  training. 
During  two  years,   rehearsals,   together  with 


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HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


reviews  under  Mr.  Thomas'  personal  direction, 
were  held  without  intermission.  It  numbered 
a  little  over  600.  The  orchestra  numbered 
165  artists,  though  essentially  the  same  as  that 
for  the  festival  of  18S0.  It  was  at  this  festival 
that  Miss  Cary,  identified  with  them  from  the 
beginning,  took  leave  of  the  public  for  private 
life.  Taken  altogether,  it  is  believed  that  no 
musical  festival  was  ever  held  with  better  equip- 
ment or  more  artistic  excellence  and  popular 
success  than  that  of  1882.  It  may  truly  be  said 
that  the  May  Festivals  have  been  the  most  potent 
medium  of  art  encouragement  which  this  city 
and  country  have  ever  known.  A  high  aim 
and  a  lofty  purpose  were  constantly  kept  in 
view,  and  with  each  recurring  event  this  aim 
and  purpose  became  clearer  and  the  method 
adopted  .for  their  attainment  more  direct.  As 
a  rule,  the  works  which  require  large  num- 
bers of  performers  have  been  given  at  night, 
while  in  the  afternoon  consideration  has  been 
had  for  the  natural  desire  for  variety  and 
pieces  which  could  not,  without  discord,  be 
consorted  with  the  works  performed  at  night. 
This  has  always  been  done,  however,  without 
lowering  the  artistic  standard  fixed  as  the  key- 
note of  the  festivals.  (See  also  the  heading 
May  Festivals).  *     *     * 

Cincinnati  Conservatory  of  Music. 
This  institution  was  established  in  1867,  by 
the  present  directress,  Miss  Clara  Bauer. 
It  is  modeled  after  the  famous  Conservatorium 
at  Stuttgart.  There  is  attached  to  it  a  board- 
ing department  for  the  benefit  of  the  young 
ladies  attending.  All  the  branches  of  music 
are  taught,  and  also  elocution  and  modern 
languages.  Instruction  is  imparted  by  a  corps 
of  twenty  teachers,  among  whom  are  Michael 
Brand,  E.  Eugene  Davis,  and  others  well 
known. 

Cincinnati  Music  School.  This  institu- 
tion was  inaugurated  in  September,  1880,  by 
George  Schneider,  B.  W.  Foley  and  Arthur 
Mees,  who  were  connected  with  the  College 
of  Music  previous  to  that  time.  It  has  re- 
mained under  the  management  of  those  gen- 
tlemen, all  eminent  musicians  and  teach- 
ers. Miss  Emma  Cranch,  well  known  as 
a  vocalist,  has  had  charge  of  the  vocal  depart- 
ment from  the  first.  The  usual  branches  of 
music  are  taught.  A  special  feature  of  the 
School  is  that  every  pupil  receives  private 
instruction.     Particular    opportunities    are  of- 


fered those  wishing  to  become  teachers  or 
pursuing  select  studies. 

Clarke,  Hugh  A.,  was  born  in  Canada, 
in  the  year  1839.  His  knowledge  of  music, 
aside  from  that  gained  by  his  own  un- 
aided study,  was  imparted  by  his  father,  J.  P. 
Clarke,  Mus.  Doc,  Oxon.  Col.,  and  professor 
of  music  in  Upper  Canada  University.  In 
1859  he  went  to  Philadelphia,  where  he 
gradually  acquired  a  reputation  both  as 
teacher  and  composer.  In  1875  he  was 
elected  professor  of  music  in  the  University  of 
Pennsylvania,  located  at  Philadelphia,  a 
position  which  he  still  (March,  1884)  holds. 
He  has  taught  a  number  of  eminent  pupils, 
among  whom  is  Wm.  W.  Gilchrist.  His 
works  consist  of  some  songs  and  piano 
pieces,  a  method  for  the  piano  and  one  for 
the  organ,  and  "  Harmony  on  the  Inductive 
Method,"  published  by  Lee  &  Walker. 

Clarke,.  William  Horatio,  organist, 
was  born  at  Newton,  Mass.,  a  suburb  of 
Boston,  in  1840,  and  came  of  a  musical  family. 
At  the  age  of  seven  years  he  began  to  play 
upon  different  musical  instruments,  but  the 
organ  was  his  favorite,  which  he  assiduously 
studied  under  competent  teachers.  In  1856  he 
was  elected  organist  of  the  Congregational 
Church  of  South  Dedham  (now  Norwood),  in 
1857  of  Rev.  Dr.  Alvin  Lamson's  Church  in 
Dedham,  and  in  1859  of  the  Berkely  Street 
Church  in  Boston.  This  latter  position  he 
resigned  in  1866  to  accept  a  similar  one  in 
Woburn,  Mass.  (where  he  had  previously  mar- 
ried). In  1872,  after  returning  from  Europe, 
he  was  engaged  as  superintendent  of  musical 
instruction  in  the  public  schools  of  Dayton, 
Ohio.  From  there  he  removed  in  1S74  to  In- 
dianapolis, Ind.,  and  in  1878  to  Boston.  In 
June,  1880,  he  accepted  the  position  of  organ- 
ist of  the  Jarvis  Street  Baptist  Church,  To- 
ronto, Canada.  Four  years  later  he  accepted 
a  call  from  the  Plymouth  Church  of  Indianapo- 
lis, Ind.,  and  he  is  still  (January,  1886)  located 
in  that  city.  His  first  instruction  book  for  the 
organ  was  issued  in  1865.  It  was  followed  by 
"  Clarke's  New  Method  for  Reed  Organs,"  of 
which  nearly  100,000  copies  have  been  sold. 
He  has  put  forth  other  works,  chief  among 
which  is  the  "  Harmonic  School  for  the 
Organ."  He  has  also  composed  much 
church  and  organ  music.  As  an  organist  he 
ranks  among  the  foremost  in  this  country. 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


39 


Cleveland  Conservatory  of  Mu- 
sic, Cleveland,  Ohio.  This  institution  was 
established  in  the  summer  of  1871,  by  J. 
Underner,  Wm.  Heydler  and  John  Hart,  who 
constituted  the  board  of  directors.  These 
gentlemen  having  had  several  years'  experi- 
ence in  Europe,  the  Conservatory  was  largely 
modeled  on  the  European  conservatory  plan, 
the  class  system  being  the  same  as  that  used  in 
the  conservatories  of  Leipsic,  Paris,  etc.  It 
has  been  successful  in  elevating  the  standard 
of  musical  taste,  especially  in  the  city  of 
Cleveland,  where  it  has  accomplished  and  is 
still  accomplishing  an  excellent  work.  Its 
pupils  are  drawn  not  only  from  towns  near  by, 
but  from  all  parts  of  the  country.  The  Con- 
servatory remained  under  the  management  of 
the  original  board  of  directors  until  the  death 
in  August,  18S1,  of  Mr.  Heydler,  after  which  it 
was  for  some  time  conducted  by  the  remaining 
directors.  The  present  (January,  18S6)  di- 
rectors are  F.  Bassett  and  Chas.  Heydler. 

Cleveland   Vocal  Society,    The, 

Cleveland,  Ohio,  was  organized  in  1873, 
with  a  chorus  of  40  voices,  which  has  gradu- 
ally been  enlarged  to  90  voices.  The  orches- 
tra consists  of  about  40  pieces.  The  Society 
was  not  incorporated  until  Sep.  11,  1882.  Its 
object,  as  avowed  in  the  articles  of  incorpora- 
tion, is  the  "study,  cultivation,  and  rendition 
of  music,  and  to  receive,  hold,  and  apply  for 
such  uses  and  purposes  any  funds  or  property 
lawfully  acquired  by  the  corporation."  The 
Cleveland  May  Festivals  of  1880  and  1882 
were  held  under  the  auspices  of  the  Society, 
and  with  the  net  proceeds  ($4000)  a  perma- 
nent fund  was  created.  It  is  intended  to  hold 
another  May  Festival  in  1884,  and  the  forces 
are  already  at  work  rehearsing.  The  chorus 
will  be  about  300  strong.  Three  concerts  are 
annually  given  by  the  Society  to  its  honorary 
members,  the  first  one  of  which  occurred  Dec. 
14,  18S2.  The  number  of  members  is  about 
1 15.  Alfred  Arthur,  who  was  also  one  of  the 
founders,  has  been  the  conductor  from  the  first, 
and  to  his  energy  and  ability  much  of  the  suc- 
cess of  the  Society  is  due.  The  officers  are  as 
follows  :  T.  P.  Handy,  president ;  Oscar  J. 
Campbell,  vice-president ;  Charles  A.  Cook, 
secretary  ;  and  L.  P.  Hulburd,  librarian ; 
with  a  boai'd  of  17  trustees  and  various  com- 
mittees. Miss  M.  S.  Wright  acts  as 
accompanist. 


dough  &  Warren,  Detroit,  Michi. 
GAN.  One  of  the  leading  American  reed-organ 
manufacturing  firms.  It  was  founded  in  1850 
by  Simmons  &  Clough,  who  for  twenty  years 
conducted  the  business  in  a  quiet  way.  In 
1870  the  present  firm  was  organized,  Jesse  H. 
Farwell  being  admitted  as  special  partner. 
Mr.  Clough  brought  with  him  the  experience 
of  more  than  a  score  of  years,  while  Mr.  War- 
ren's executive  ability  well  qualified  him  for 
the  position  of  general  manager  of  the  works. 
Since  1S70,  the  firm  has  rapidly  come  to  the 
front  and  taken  its  present  high  position, 
which  has  been  well  earned  by  years  of 
patient  labor  and  inventive  genius.  The  repu- 
tation of  Clough  &  Warren  is  not  only  national 
but  almost  world-wide,  their  instruments  being 
known  and  appreciated  in  every  civilized 
country.  The  leading  quality  of  their  organs 
is  the  pure,  full  and  correct  intonation.  An 
ingenious  invention  used  in  the  larger  makes 
is  the  "patent  qualifying  tubes,"  which  con- 
sist of  tubes  of  wood  of  certain  fixed  propor- 
tions, placed  so  as  to  operate  in  connection  with 
the  diapason  and  melodia  reeds,  each  tube  hav- 
ing an  opening  on  the  upper  side  at  the  lower 
end,  through  which  the  air  (subsequently  pass- 
ing through  the  reeds)  enters,  and  through 
which  the  sound  escapes.  The  effect  is  to  give 
a  fulness  and  volume  to  the  tone  almost 
equal  to  that  produced  by  pipe  organs. 

The  firm  has  large  and  extensive  buildings 
with  expensive  machinery  and  everything  con- 
veniently arranged.  Employment  is  given  to 
150  men,  whose  monthly  wages  in  the  aggre- 
gate amount  to  about  $6000. 

Coleman,  Obed  M.,  was  born  Jan.  23, 
1817,  at  Barnstable,  Mass.  It  was  not  until 
he  was  sixteen  years  old,  after  a  severe 
illness,  that  his  inventive  talents  showed 
themselves.  While  living  at  New  Bedford, 
Mass.,  he  invented  an  automaton  consisting 
of  a  lady  minstrel  playing  on  an  accordeon  and 
a  singing  bird.  This  he  disposed  of  for  £800 
and  then  removed  to  Saratoga,  N.  Y.  After 
this  he  made  several  improvements  of  the 
accordeon  and  invented  his  reolian  attachment 
for  the  piano,  which  sold  in  this  country  for 
#110,000,  it  is  said.  He  died  April  5,  1845,  ln 
the  prime  of  life. 

Collection    of   the  Best   Psalm 

Tillies.     A  book  of  church  music  compiled 
and  published  by  Josiah   Flagg  of  Boston  in 


40 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


1764.  It  was  of  small,  oblong  form,  containing 
about  eighty  pages,  and  engraved  in  round 
notes,  and  was  the  first  book  printed  on  paper 
manufactured  in  the  Colonies.  The  title 
page  ran  as  follows :  "A  collection  of  the  best 
Psalm  Tunes,  in  two,  three  and  four  parts ; 
from  the  most  approved  authors,  fitted  to  all 
measures,  and  approved  by  the  best  masters  in 
Boston,  New  England;  the  greater  part  of 
them  never  before  printed  in  America.  En- 
graved by  Paul  Revere ;  printed  and  sold  by 
him  and  Jos.  Flagg."  In  the  preface,  the 
author  says:  "The  Editor  has  endeavored, 
according  to  the  best  of  his  judgment,  to  extract 
the  sweets  out  of  a  variety  of  fragrant  flowers, 
has  taken  from  every  author  he  has  seen,  a  few 
Tunes,"  etc.  The  work  contains  one 
hundred  and  sixteen  tunes  and  two  anthems. 
Hood,  in  his  "  History  of  Music  in  New 
England,"  supposes  that  some  of  them  were 
by  American  composers,  which  may  quite 
possibly  have  been  the  case. 

College  of  Music,  New  York,  was 
incorporated  under  the  laws  of  the  State  of 
New  York,  in  187S,  and  is  mainly  due  to  the 
energy  and  devotion  of  its  present  director, 
Mr.  Louis  Alexander.  The  building  is  spe- 
cially adapted  for  the  purposes  of  the  College, 
and  there  are  conveniences  for  instructing  700 
pupils.  Four  terms  often  weeks  each  (or  30 
lessons)  constitute  the  school  year.  Beginners 
are  admitted  upon  the  same  terms  as  those 
more  advanced.  Instruction  is  imparted  by  a 
corps  of  about  twenty  professors,  among 
whom  are  Theodore  Thomas  (vocal  sight- 
reading),  Rafael  Joseffy  (piano),  Edward 
Mollenhauer  and  George  Matzka  (violin), 
Carl  C.  Miiller  (theory  and  harmony),  and 
George  F.  Biistow  (organ).  A  series  of 
concerts,  in  which  the  more  advanced  pupils 
take  part,  are  given  each  season,  the  object 
being  the  endowment  of  a  Scholai-ship  Fund 
for  the  support  of  promising  but  indigent 
students.  A  "bureau  of  artists'  engagements" 
has  also  been  established,  of  which  profes- 
sional students  have  the  benefit  without 
extra  charge.  Musical  degrees  are  con- 
ferred at  the  discretion  of  the  director  and 
faculty.  The  officers  are  at  present  (May, 
1883)  as  follows:  President,  Hon.  A.  S. 
Sullivan;  director,  Louis  Alexander;  sec- 
retary, George  W.  Clark;  treasurer,  Otto 
Rother. 


College  of  Music,  Cincinnati,  Ohio. 
This  College,  which  was  incorporated  under 
the  laws  of  the  State  of  Ohio,  in  187S,  was 
organized,  as  stated  in  the  act  of  incorporation, 
"To  cultivate  a  taste  for  music,  and  for  that 
purpose,  to  organize  a  school  of  instruction 
and  practice  in  all  branches  of  musical  educa- 
tion ;  the  establishment  of  an  orchestra ;  the 
giving  of  concerts  ;  the  production  and  publi- 
cation of  musical  works,  and  such  other 
musical  enterprises  as  shall  be  conducive  to 
the  ends  above  mentioned." 

The  College  is  the  outgrowth  of  the  May 
Festivals  held  in  Cincinnati,  in  1S73  and  l&75> 
and  was  suggested  by  Reuben  R.  Springer,  a 
wealthy  and  influential  citizen  of  that  city. 
In  1875,  Mr.  Springer  generously  offered  to 
give  $125,000  toward  the  erection  of  a  suit- 
able building  for  a  college  of  music,  if  the 
people  would  contribute  another  #125,000. 
After  many  difficulties  and  delays  the  needed 
amount  was  raised,  and  the  erection  of  the 
building  commenced.  Meanwhile,  the  musi- 
cal festival  association  decided  to  hold  their 
third  May  Festival  in  1877,  and  Mr.  Springer, 
in  his  anxiety  to  see  the  building  completed  in 
time  for  that  event, offered  to  give  an  additional 
$20,000,  provided  the  citizens  would  raise 
$15,000  within  30  days,  which  was  done.  The 
building,  however,  could  not  be  completed,  and 
the  festival  association  wisely  decided  to  post- 
pone the  festival  until  the  following  year 
(1S7S),  when  it  was  held  in  the  music  hall  of 
the  building,  and  was  in  many  respects  the 
grandest  one  that  has  taken  place. 

The  main  hall  of  the  building  is  1 12  feet 
wide  by  I92  feet  long,  and  will  accommodate 
several  thousand  persons.  The  stage  is  56  by 
112  feet,  and  furnishes  room  for  a  chorus  of 
nearly  600  voices.  In  front  of  the  hall  is  a 
vestibule  46  by  112  feet,  while  on  each  side  is 
a  corridor,  so  that  ingress  or  egress  can 
easily  be  effected.  Over  the  vestibule  is  a 
small  hall  46  by  112  feet  and  30  feet  high. 
There  is  on  each  side  of  the  Music  Hall 
building,  and  forming  wings  thereto,  a  smaller 
building.  These,  also  largely  erected  through 
the  aid  of  Mr.  Springer,  are  used  for 
industrial  exposition  purposes.  The  whole 
mass  of  buildings  has  a  frontage  of  372  feet  on 
Elm  street  and  extends  back  to  Plum  street 
293  feet,  and  is  of  a  modernized  gothic  style  of 
architecture. 


HANDBOOK   OF  AMERICAN   MUSIC   AND   MUSICIANS. 


The  first  session  of  the  College  began  Oct. 
14,  187S.  Besides  the  usual  three  terms,  there 
is  a  fourth  term,  held  during  the  summer 
months,  for  the  especial  benefit  of  teachers  and 
others  who  can  not  attend  the  other  terms. 
Instruction  is  given  in  every  branch  of  music 
and  the  languages,  and  upon  every  musical 
instrument.  There  is  an  academic  depart- 
ment for  advanced  pupils.  Graduates  of  this 
department  receive  diplomas.  Certificates  are 
conferred  on  such  pupils  as  are  enough 
advanced  to  become  teachers  in  some  branch. 
There  is  a  perpetual  fund,  donated  by  Mr. 
Springer,  the  annual  income  of  which  is  dis- 
tributed in  ten  gold  medals,  among  such 
pupils  as  have  been  in  the  College  one  year 
and  have  superior  musical  ability. 

The  College  is  under  the  control  of  a  board 
of  Trustees,  consisting,  at  this  date  (1S85),  of 
P.  R.  Neff,  president;  W.  McAlpin,  vice- 
president;  W.  J.  Mitchell,  secretary;  A.  C. 
Edwards,  treasurer;  A.  T.  Goshorn,  T.  D. 
Lincoln,  J.  Balke,  L.  Markbreit,  L.  Anderson, 
I.  B.  Resor,  R.  II.  Galbreath,  P.  II.  Hart- 
mann,  II.  S.  Fechheimer,  W.  Worthington. 
The  faculty  consists  of  some  thirty  professors, 
many  of  whom  are  eminent  specialists  and 
have  a  national  reputation. 

College  of  Musicians,  American. 

The  preliminary  steps  regarding  the  establish- 
ment of  the  College  of  Musicians  were  taken 
at  the  meeting  of  the  Music  Teachers' 
National  Association  held  at  Providence,  R.  I., 
July  4,  5  and  6,  1883,  by  the  adoption  of  the 
following  resolutions,  which  succinctly  and 
forcibly  state  the  principles  on  which  this 
organization  was  founded  : 

Whereas,  On  the  one  hand  the  pernicious 
and  debasing  influence  of  the  incompetent,  ill- 
prepared  teacher  of  music  has  become  a  bur- 
den to  the  long  suffering  public,  and  a  stumb- 
ling block  to  the  best  efforts  of  the  profession  ; 
and 

Whereas,  It  seems  eminently  proper  and 
equitable  that  some  means  should  be  devised 
of  substantiating  the  prior  claims  of  the  com- 
petent, well  prepared  teacher  to  public  and 
professional  recognition,  it  is  hereby 

Resolved,  That  in  order  first  to  protect  the  pub- 
lic from  incompetent  teachers,  and  secondly  to 
protect  the  teachers  who  have  made  an  ade- 
quate preparation,  it  is  the  sense  of  the  Music 
Teachers'  National  Association  in  convention 
assembled,  that  it  is  desirable  to  provide  a  sys- 
tem of  examination  for  those  desiring  to  prac- 
tice the  profession  of  teaching  ;  an  examina- 
tion which  shall  fairly  and    impartially  draw 


the  line  between  the  incompetent  and  com- 
petent. 

In  accordance  with  the  succeeding  and 
final  resolution  of  the  above  series,  a  commit- 
tee composed  of  about  one  hundred  and  thirty 
representative  musicians  was  formed  to  in- 
quire into  the  feasibility  of  founding  an  asso- 
ciation for  the  purpose  above  expressed,  and, 
at  a  meeting  held  at  Cleveland,  July  1,  by  vir- 
tue of  the  power  vested  in  them  by  the  M.  T. 
N.  A.,  the  members  of  this  committee  re- 
solved themselves  into  the  charter  members  of 
an  association  to  be  called  "  The  American 
College  of  Musicians." 

The  officiary  is  as  follows  : 

President,  E.  M.  Bowman ;  First  Vice- 
President,  H.  Clarence  Eddy ;  Second  Vice- 
President,  S.  B.  Whitney ;  Secretary  and 
Treasurer,  A.  A.  Stanley. 

Board  of  Directors  :  W.  W.  Gilchrist, 
Dr.  Louis  Maas,  W.  H.  Sherwood,  S.  E. 
Jacobsohn,  Chas.  R.  Adams,  F.  Grant  Glea- 
son  and  J.  H.  Wheeler. 

Board  of  Examiners  :  Pianoforte : — 
Wm.  H.  Sherwood,  Dr.  Louis  Maas,  Dr.  Wil- 
liam Mason.  Rudimentary,  (Music  Teachers 
for  Public  Schools)  : — Arthur  Mees,  Julius 
Eichberg,  John  W.  Tufts.  Organ  :— H.  Clar- 
ence Eddy,  S.  B.  Whitney,  S.  P.  Warren. 
Voice:  —  Mme.  Luisa  Cappiani,  Chas.  R. 
Adams,  J.  H.  Wheeler.  Orchestral  Stringed 
Instruments: — Henry  Schradieck,  S.  E.  Jacob- 
sohn, Dr.  L.  Damrosch.  Musical  Theory: — 
E.  M.  Bowman,  W.  W.  Gilchrist,  F.  Grant 
Gleason. 

It  was  decided  to  institute  three  grades  of 
examination,  and  to  confer  suitable  degrees  or 
certificates  upon  such  as  pass  these  examina- 
tions. 

The  first  grade  of  examination  will  call  for 
a  comprehensive  working  knowledge  of  the 
resources  of  musical  art  (choral  and  orches- 
tral), proficiency  in  musical  history  and  acous- 
tics, together  with  special  powers  as  a  com- 
poser, artist  or  teacher.  Candidates  passing 
this  examination  will  receive  a  diploma  and 
degree,  Master  of  Musical  Art. 

The  second  grade  of  examination  will  call 
for  special  powers  in  the  branch  followed  and 
a  working  knowledge  of  harmony  and  coun- 
terpoint. Analysis  of  musical  forms,  musical 
history,  principles  of  acoustics,  and  the  special 
history  of  the   branch   engaged  in   will  also 


42 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


constitute  a  part  of  this  examination.  Candi- 
dates passing  the  second  grade  of  examinations 
will  be  awarded  a  diploma  and  the  degree, 
Fellow  of  the  College  of  Musicians. 

The  third  grade  of  examination  will  call  for 
the  special  and  general  preparation  need- 
ful for  those  conducting  the  earlier  studies  of 
the  musical  student.  This  will  involve  cor- 
rect technical  knowledge  of  the  branch  fol- 
lowed, the  principles  of  teaching,  rudiments 
of  harmony  and  musical  forms,  and  the  out- 
lines of  musical  history.  Candidates  passing 
this  examination  will  be  awarded  a  certificate 
of  competency,  and  membership  in  the  College 
of  Musicians. 

At  the  first  annual  meeting,  held  at  New 
York,  June  30,  1885,  it  was  resolved  that  the 
College  of  Musicians  should  become  incor- 
porated. Action  has  since  been  taken  to  that 
effect,  and  the  organization  has  secured  a 
charter  under  the  laws  of  the  State  of  New 
York.  Owing  to  the  death  of  the  lamented 
Dr.  Leopold  Damrosch,  Mr.  Joseph  Mosenthal 
of  New  York  was  elected  violin  examiner, 
and  Mr.  W.  F.  Heath  was  appointed  to  fill  the 
vacancy  caused  by  the  resignation  of  Mr. 
John  W.  Tufts.  With  these  two  exceptions 
the  Board  of  Examiners  remains  as  given 
above,  and  the  Officiary  also  remains  un- 
changed, with  the  exception  of  the  sec- 
retary-treasurer. Mr.  A.  A.  Stanley  having 
resigned,  Mr.  Robert  Bonner,  of  Providence, 
was  elected  to  serve  his  unexpired  term  of 
office.  The  application  for  information 
regarding  this  society  conclusively  shows  the 
great  interest  taken  in  this  step  by  the  public, 
and  we  feel  confident  that  it  will  become  an 
honor  to  the  profession. 

Complete  Melody.    A  collection  of 

church  tunes  compiled  by  Thomas  Bailey  of 
Newhuryport,  Mass.,  mainly  from  William 
Tansur's  English  collection,  and  published  in 
1755.  It  was  in  three  parts,  and  seems  to  have 
met  with  a  very  encouraging  sale. 

Conn,  C.  G.,  Elkhart,  Indiana,  is  one 
of  the  most  noted  inventors  and  manufacturers 
of  band  instruments.  His  establishment  is  one 
of  the  very  largest  and  most  complete  in  the 
world,  and  his  business  has  rapidly  developed 
from  a  small  beginning.  In  1876,  Mr.  Conn 
invented  the  "elastic-face"  mouthpiece,  which 
met  with  a  great  demand.  With  a  sagacity 
characteristic  of   Americans,   he    foresaw  the 


opportunity  which  the  manufacture  of  band 
instruments  offered,  and  accordingly  began  a 
series  of  experiments  in  a  small  shop,  employ- 
ing only  three  men.  The  remarkable  success 
with  which  he  met  soon  compelled  him  to 
build  a  large  factory.  This  was  destroyed  by 
fire,  January  31,  1883,  with  all  its  contents. 
The  loss  of  the  tools,  patterns  and  machinery, 
which  it  had  taken  him  years  to  perfect  and 
complete,  was  a  severe  blow  to  Mr.  Conn. 
With  undaunted  energy,  however,  he  imme- 
diately rebuilt  and  was  soon  running  again  as 
before.  All  parts  of  the  instruments  are  made 
and  finished  at  the  factory.  Upwards  of  130 
skilled  workmen  are  employed.  Mr.  Conn's 
instruments  are  noted  for  a  rich,  powerful  and 
sympathetic  tone,  freedom  of  action,  correct 
intonation,  both  the  open  and  valve  tones 
being  the  same  in  quality  and  quantity,  and 
ease  with  which  they  are  blown.  An  impor- 
tant feature  of  his  system  is  the  tuning  of  in- 
struments in  sets,  thus  insuring,  as  far  as  pos- 
sible, an  ensemble  which  is  perfect.  In  con- 
nection with  the  band  instrument  business,  he 
publishes  and  keeps  for  sale  all  the  latest  and 
best  band  music.  His  activity  and  energy  are 
ceaseless  and  constantly  directed  toward  the 
improvement  of  his  instruments.  He  is  also 
manager  of  the  local  daily  paper,  and  takes  a 
prominent  part  in  the  affairs  of  the  town. 

Conventions,  Musical.  Musical  con- 
ventions are  purely  American  in  origin.  Ac- 
cording to  John  W.  Moore's  "  Encyclopaxiia 
of  Music,"  in  1829  the  idea  of  a  musical  con- 
vention was  first  suggested  to  the  members  of 
the  New  Hampshire  Central  Musical  Society, 
at  its  session  at  Goffstown,  and  one  was  ap- 
pointed to  be  held  at  Concord  in  the  following 
September.  It  continued  for  two  days.  In 
1830,  another  one  was  held  at  Pembroke,  and 
in  1831,  a  third  one  at  Goffstown.  They  all 
were  under  the  direction  of  Mr.  Henry 
E.  Moore.  In  1836,  a  convention  was 
held  in  Boston,  under  the  auspices  of 
the  Boston  Academy  of  Music,  and  was 
conducted  by  Lowell  Mason  and  George 
J.  Webb.  For  nearly  fifteen  years  an  annual 
one  was  held  at  Boston.  In  1842  or  1S43, 
after  the  Boston  session,  the  teachers  went  to 
Rochester.  This  was  the  first  one  held  out- 
side of  Boston,  except  those  already  men- 
tioned. Conventions  grew  in  public  favor  and 
soon  began  to  be  held  in  other  places.     Those 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


43 


who  first  became  popular  in  the  work  were  Dr. 
George  F.  Root,  Wm.  B.  Bradbury,  Isaac  B. 
Woodbury,  Thomas  Hastings,  and  Benj.  F. 
Baker.  Of  these,  all  but  the  first  and  last 
named  are  dead.  Among  the  leading  conven- 
tion conductors  of  the  present  time  are  Dr. 
Root,  Dr.  H.  R.  Palmer,  L.  O.  Emerson, 
W.  O.  and  H.  S.  Perkins,  and  several  others. 

The  aim  of  conventions  is  both  social  enjoy- 
ment and  musical  advancement,  the  latter 
always  being  paramount.  The  program 
generally  consists  of  exercises  in  notation  and 
reading  at  sight,  the  practice  of  glees, 
choruses,  anthems,  etc.,  interspersed  with 
remarks,  explanations  and  short  lectures  by  the 
conductor.  Individual  performances  by  the 
members  are  always  in  order.  A  convention 
ordinarily  lasts  four  days,  commencing  on 
Tuesday  and  ending  on  Friday.  Three 
sessions  are  held  each  day;  morning,  afternoon 
and  evening,  making  twelve  in  all,  each  one 
about  two  hours  in  duration.  All  those  attend- 
ing a  convention  from  a  distance  are  either  en- 
tertained free  at  private  houses  or  given  the 
benefit  of  board  at  greatly  reduced  rates.  The 
remuneration  of  a  first-class  conductor  is  gen- 
erally $125  and  expenses. 

Musical  conventions  are  well  calculated  to 
awaken  a  love  and.  enthusiasm  for  music,  and 
undoubtedly  have  been  instrumental  in  pro- 
moting the  progress  of  the  art  in  this  country. 
See  Institutes  of  Music,  Normal. 

Converse,  Charles  Crozat,  was  born 
Oct.  7,  1834,  at  Warren,  Mass.  While  he  was 
yet  young  his  parents  removed  to  New  York 
State,  and  he  received  a  good  education  at  the 
Elmira  Academy.  He  had  a  great  love  for 
music,  and  desire  for  a  better  musical  educa- 
tion led  him  to  go  to  Germany,  in  1855,  where 
he  was  a  pupil  at  the  Leipsic  Conservatorium, 
studying  under  Hauptmann  and  Richter,  and 
Haupt  at  Berlin.  While  in  Germany  he 
wrote  several  compositions  which  were  highly 
commended  by  the  best  musicians.  In  1857 
he  returned  home  and  was  shortly  after  mar- 
ried. Notwithstanding  his  musical  talents  he 
decided  to  pursue  law  as  a  profession,  and  with 
that  end  in  view  entered  the  law  department 
of  the  University  of  Albany,  from  which  he 
graduaded  as  LL.B.,  in  1861.  For  some 
time  thereafter  he  pursued  his  calling  in  the 
West,  then  removed  to  Brooklyn,  and  finally 
to   Erie,    Pa.,    about    1875,    where  he    is  still 


located  and  where  he  is  a  partner  in  the 
Burdette  Organ  Co.  He  has  written  some 
large  orchestral  works,  but  is  best  known  per- 
haps by  his  hymn  tunes,  "What  a  Friend  we 
have  in  Jesus  "  having  been  sung  all  over  the 
world.  Many  of  his  pieces  appear  under  the 
name  of  "  Karl  Redan." 

Coronation.  One  of  the  most  popular 
church  tunes  ever  composed.  It  was  written 
by  Oliver  Holden  (born  1765;  died  1834),  a 
resident  of  Charlestown,  and  was  probably 
first  published  in  his  American  Harmony, 
which  appeared  in  1792.  It  is  generally  sung 
to  the  hymn  beginning  "All  hail  the  power 
of  Jesus'  name." 

Courtney,  William,  was  bom  Dec.  7, 
1844,  at  Monmouthshire,  England.  He  early 
manifested  a  great  love  for  music,  and  pos- 
sessed a  high  soprano  voice  of  great  purity 
and  fulness,  which  made  his  services  often 
called  for  as  a  chorister  boy.  His  voice 
changing  into  a  beautiful  tenor,  he  in  1869 
went  to  London,  where  he  placed  himself 
under  the  care  of  Mr.  Frank,  husband  of 
Louisa  Pyne.  He  made  such  rapid  progress 
that  in  the  ensuing  winter  he  was  engaged  by 
Madam  Pyne  as  first  tenor  during  her  tour  in 
Scotland  and  the  English  provinces.  Return- 
ing to  London,  he  sang  for  some  time  in  con- 
certs and  oratorios  and  afterwards  in  the 
opera,  having  been  engaged  for  two  seasons 
at  the  English  Opera,  Crystal  Palace.  He 
was  the  original  Dcpcndan  in  Sullivan's 
"Trial  by  Jury,"  and  created  the  tenor  rSle  in 
Cellier's  "  Nell  Gwyne,"  Gallwick's  "Don- 
na Constanza,"  and  several  other  operas. 

In  1878,  Mr.  Courtney  met  and  married,  in 
London,  Madam  Louise-Gage,  an  American 
vocalist,  and  soon  after  proceeded  with  her  to 
Italy,  where  he  studied  a  year  under  Vannu- 
cini  at  Florence.  He  then  came  to  this  coun- 
try and  soon  became  well  known.  He  has 
filled  various  festival  engagements  in  Boston, 
Pittsburg,  and  NewYork,  under  Dr.  Damrosch, 
and  sung  in  "Messiah,"  "Judas  Maccabreus," 
"Solomon,"  "Last  Judgment,"  "Mount  of 
Olives,"  and  other  oratorios,  at  the  Handel 
and  Haydn  Society's  concerts  in  Boston. 
He  has  also  sang  in  oratorio  and  other  en- 
gagements in  the  principal  cities  of  the  coun- 
try. His  success  as  a  teacher  leads  him  to 
devote  much  of  his  time  to  that  branch  of  the 
profession. 


44 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


CrailCll,  Emma.  This  singer  is  a  native 
of  Cincinnati,  Ohio,  and  took  her  first  vocal 
lessons  from  Mrs.  Emma  R.  Dexter,  to  whom 
belongs  the  credit  of  having  laid  the  founda- 
tion of  that  finished  method  which  she  subse- 
quently acquired.  After  leaving  Mrs.  Dexter, 
she  studied  alone  one  year,  and  then  went  to 
Milan,  where,  for  eight  months,  she  took  les- 
sons from  San  Giovanni.  Thence  she  went  to 
Paris,  where  she  studied  with  Signor  Brignoli, 
the  tenor;  thence  to  London,  where  for  a 
short  time  she  was  a  pupil  of  Mrs.  McFarren, 
wife  of  the  English  composer,  George  W. 
McFarren.  Returning  home,  she  was  engaged 
by  Mr.  Thomas  to  travel  as  soloist  with  his 
orchestra,  and  for  the  purpose  of  studying  her 
concert  selections  thoroughly,  she  went  to 
New  York  and  placed  herself  under  the  tuition 
of  Signor  Errani.  She  made  the  concert  tours 
with  the  orchestra  for  eight  months,  part  of 
which  time  she  sang  seven  times  a  week.  In 
May,  1875,  she  sang  at  the  second  of  the  Cin- 
cinnati May  Festivals.  She  has  been  since 
that  time  one  of  the  soloists  at  all  our  larger 
concerts  and  festivals,  including  the  festival  of 
1878,  and  the  Sa;ngerfest  of  the  North  Ameri- 
can Srcngerbund,  in  1879.  She  went  east  in 
1876  and  for  a  year  was  the  alto  soloist  in  the 
choir  of  Plymouth  Church,  Brooklyn.  When 
the  College  of  Music  was  established,  she  was 
engaged  as  one  of  the  teachers  of  singing, 
her  methods  of  instruction  proving  very  suc- 
cessful. She  severed  her  connection  with  the 
College  about  a  year  ago,  and  since  that  time 
has  been  giving  vocal  instruction  at  the  Cin- 
cinnati Musical  School.  She  sang  at  the 
Messiah  performance  of  1SS0,  and  at  present 
belongs  to  the  quartet  of  the  Unitarian  church 
of  Cincinnati.  *     *     * 

Crouch,  Frederick  Nicholls,  an  Eng- 
lish composer,  was  born  July  31,  1808,  at  Lon- 
don.    When   nine  years   old   he  was  able   to 


play  the  bass  in  the  orchestra  of  the  Royal  Co- 
burg  Theatre,  and  finally  became  attached  to 
Her  Majesty's  Theatre  as  violoncellist.  Un- 
der the  patronage  of  George  IV,  he  entered  the 
Royal  Academy  of  Music  upon  its  establish- 
ment in  1822,  and  after  his  graduation  secured 
the  post  of  principal  violoncellist  at  Drury 
Lane.  For  many  years  he  was  contributor  of 
musical  articles  and  reviews  to  various  publi- 
cations, and  composed  besides  songs,  among 
which  is  the  celebrated  Kathleen  Mavour- 
NEEN,  two  operas,  "The  Fifth  of  November" 
and  "Sir  Roger  de  Coverly."  In  1849  he  came 
to  the  United  States  with  Max  Maretzek,  and 
after  the  disbandment  of  the  company  went  to 
Maine,  residing  for  a  number  of  years  at  Port- 
land. From  there  he  removed  to  Philadelphia, 
and  thence  to  Washington,  where  he  was  for 
some  time  organist  of  St.  Matthew's  church. 
At  the  outbreak  of  the  war  he  was  residing  at 
Richmond,  and  was  one  of  the  first  to  enlist, 
serving  in  the  Richmond  Grays  and  the  Rich- 
mend  Howitzers.  Soon  after  its  close  he  set- 
tled in  Baltimore,  where  he  is  still  (June, 
18S4)  residing  at  an  advanced  age.  He  has 
been  out  of  employment  for  some  time,  and  is 
now  in  destitute  circumstances,  greatly  need- 
ing help.  He  has  written  an  autobiography, 
which,  could  it  be  published,  would  undoubted- 
ly be  an  interesting  addition  to  our  musical 
literature. 

Cutler,  Dr.  Henry  Stephen,  was  born 
Oct.  7,  1825,  at  Boston,  where  he  was  organ- 
ist for  some  time.  He  then  became  organist 
of  Trinity  Church,  New  York,  and  subse- 
quently of  St.  Ann's,  Brooklyn,  a  position 
which  he  still  holds.  He  has  written  numer- 
ous compositions  for  the  church,  among  which 
are  a  number  of  anthems,  issued  in  book  form 
under  the  title  of  "Trinity  Anthems  "  (1S66). 
The  "Trinity  Psalter"  (1863)  was  issued 
under  his  editorship. 


D. 


Damrosch,  Dr.  Leopold,  .  well-known 
as  one  of  America's  most  able  conductors,  was 
born  at  Po:»en,  Prussia,  October  22,  1832,  and 
was  therefore  in  his  fifty-third  year.  From  his 
father,  a  merchant  and  a  man  of  considerable 
culture,  he  undoubtedly  inherited  many  of  his 
line  tastes,  that  for  music  predominating  over 
everything  else.  The  displays  of  what  was 
destined  to  be  the  ruling  passion  of  bis  life 
began  at  the  earliest  age,  and  were  probably 
not  displeasing  to  his  parents,  but  the  thought 
of  his  becoming  a  professional  musician  was  a 
repugnant  one.  At  the  age  of  nine  years  he 
regularly  commenced  the  study  of  the  violin 
unknown  to  them,  practicing  at  the  houses  of 
friends.  In  deference  to  their  wishes,  after 
completing  the  usual  course  at  the  gymnasium, 
he  entered  the  University  at  Berlin  for  the 
study  of  medicine,  graduating  with  high  hon- 
ors as  medicina  doctor,  after  three  years  of  close 
application.  During  all  this  time  every  leis- 
ure moment  was  devoted  to  music.  Concert- 
meister  Ries  was  his  instructor  in  violin  play- 
ing, and  Dehn  and  Bohmer  taught  him  theory 
and  composition.  Under  them  he  acquired 
the  foundation  of  that  broad,  deep  culture 
which  has  ever  characterized  him. 

Having  complied  with  the  desires  of  his  par- 
ents, he  felt  at  liberty  to  pursue  his  own  in- 
clinations, and  appeared  as  solo  violinist  in 
various  German  cities.  Such  was  his  success 
that  his  reputation  soon  became  a  national  one. 
Liszt  was  then  in  the  height  of  his  powers  and 
had  made  Weimar  a  sort  of  Mecca  to  musical 
pilgrims.  Thither  in  1S55  he  directed  his 
steps.  The  master  was  much  pleased  with  his 
playing,  and  gave  him  the  position  of  solo 
violinist  in  the  Grand  Duke's  orchestra,  a  post 
which  he  very  acceptably  filled  for  some 
eighteen  months.  This  period  brought  him 
into  contact  with  many  of  the  first  musicians  of 
the  day,  and  was  fruitful  in  inspirations  and 
lasting  impressions.  The  friendships  thus 
formed  have  only  been  broken  by  death. 
That  of  Liszt  was  of  the  warmest  character, 
and  in  token  thereof  the  great  pianist  dedicated 
to  him  the   second   of  his  symphonic  poems, 


"Tasso."  A  similar  compliment  is  said  to 
have  been  conferred  on  only  two  other  persons 
— Wagner  and  Berlioz.  Wagner's  friendship 
was  not  less  sincere.  The  last  token  of 
esteem  which  he  received  from  that  master- 
composer  was  the  famous  finale  to  the  first  act 
of  "Parsifal,"  in  manuscript,  which  arrived 
only  a  short  time  before  the  latter's  death. 
Still  dearer  memories  must  have  bound  him  to 
Weimar,  for  it  was  there  that  he  met  and  mar- 
ried his  wife,  a  lady  of  considerable  culture 
and  musical  attainments. 

After  leaving  Weimar,  Dr.  Damrosch  went 
to  Breslau.  It  was  there  that  he  made  his 
dibut  as  a  conductor  at  the  Philharmonic  con- 
certs. He  continued  in  that  capacity  about  a 
year,  and  then  resigned  it  only  to  make  a  con- 
cert tour  with  von  Billow  and  Tausig.  In  1861 
he  returned  and  organized  a  symphony  society 
with  an  orchestra  of  eighty  players.  Twelve 
concerts  were  given  each  season,  and  the  fame 
of  them  spread  over  all  Europe.  Nearly  all 
the  celebrated  artists  of  the  day  appeared  at 
them,  among  whom  were  RubensFein,  von 
Billow,  Tausig,  Joachim,  and  Madame  Viar- 
dot-Garcia.  Both  Liszt  and  Wagner  personally 
assumed  the  baton  on  various  occasions.  His 
labors,  however,  were  not  confined  to  the  so- 
ciety of  which  he  was  conductor,  but  extended 
into  various  other  fields. 

Actuated  in  part,  perhaps,  by  a  desire  to 
visit  the  United  States,  Dr.  Damrosch  in  1871 
accepted  a  call  from  the  Arion  Society  (a  male 
chorus),  of  New  York,  to  become  its  conduc- 
tor. His  first  public  appearance  in  this  coun- 
try was  at  Steinway  Hall,  May  6th  of  that 
year,  in  the  triple  character  of  conductor,  com- 
poser, and  violinist.  He  met  with  an  enthu- 
siastic reception,  which  must  have  been  more 
than  ordinarily  gratifying  to  the  stranger  in  a 
strange  land.  In  1S73  he  organized  the  Orato- 
rio Society  of  New  York  with  only  twelve 
members.  It  was  not  until  the  third  concert 
that  the  Society  became  anything  like  an  as- 
sured fact,  lie  organized  in  1878  a  second 
society,  the  Symphony  Society  of  New  York, 
the  orchestra  of  which  has  become  so   noted. 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


These  societies,  with  the  Philharmonic,  are 
the  representative  ones  of  the  metropolis. 
The  success  of  both,  which  have  from  the  first 
been  under  his  direction,  is  due  in  a  large 
measure  to  his  energy,  ability,  and  wisdom. 
It  was  as  their  conductor  that  he  was  instru- 
mental in  first  bringing  before  the  public  here 
many  important  works,  of  which  may  be  men- 
tioned Berlioz's  "  La  Damnation  de  Faust  ' 
(entire)  and  "Grande  Messe  des  Morts  "  (re 
quiem)  ;  Wagner's  "Siegfried"  and  "Gotter 
dammerung;"  Rubenstein's  "Tower  of 
Babel;"  Bruch's  Symphony,  No.  2;  and 
Saint-Saen's  Symphony,  No.  2,  in  A  Minor. 

In  1SS0,  Dr.  Damrosch  was  honored  with 
the  degree  of  Doctor  of  Music  by  Columbia 
College,  New  York.  In  18S2  he  had  charge 
of  the  music  at  the  New  York  May  Festival. 
Its  successful  organization  and  termination  was 
mostly  due  to  his  untiring  efforts,  and  displayed 
to  an  unusual  degree  his  faculty  for  organizing 
and  controling  musical  forces.  In  the  fall  of 
1SS2  he  made  a  tour  of  the  principal  West- 
ern cities  with  his  orchestra,  consisting  of  fifty- 
live  trained  instrumentalists.  Mile.  Isadora- 
Martinez  was  vocal  soloist.  Notwithstanding 
the  difficulties  which  beset  such  an  under- 
taking it  was  successfully  accomplished.  The 
program^  were  varied,  but  of  high  order. 
From  this  time  up  to  his  death  he  conducted 
various  festivals  in  different  parts  of  the  coun- 
try, besides  attending  to  the  regular  work  of  his 
two  societies.  Last  August  he  was  tendered, 
and  accepted,  the  position  of  conductor  and 
impresario  at  the  Metropolitan  Opera  House. 
and  the  same  month  he  departed  for  Europe  to 
engage  a  company.  His  labors  were  indeed 
multifarious  and  constantly  increasing.  His 
one  great  ambition  to  see  German  opera  a  suc- 
cess in  New  York  was  realized. 

( )n  Monday  evening,  February  9th,  1SS5,  Dr. 
Damrosch  conducted  a  performance  of  "  Lo- 
hengrin "  at  the  Metropolitan  Opera  House. 
He  then  appeared  to  be  in  his  usual  health  and 
no  one  dreamed  of  the  end  being  so  near.  The 
next  evening  he  undertook  to  direct  a  rehear- 
sal of  the  Oratorio  Society  in  the  Young  Men's 
I  Ihristian  Association  building.  In  the  middle 
of  tie  performance  he  was  taken  with  a  chill, 
and  was  compelled  to  lay  down  the  baton.  He 
was  conveyed  to  his  residence,  No.  160  East 
Forty-sixth  Street,  and  medical  aid  summoned. 
Next  morning  the  physicians  decided  that    it 


was  a  case  of  pneumonia,  but  even  then  no  seri- 
ous alarm  was  felt.  At  eight  o'clock  Sunday 
morning,  the  15th,  a  sudden  change  for  the 
worse  occurred,  and  it  soon  became  evident 
that  he  was  dying.  About  two  o'clock  he  sank 
into  a  sleep,  and  in  fifteen  minutes  passed 
peacefully  away  without  awaking.  He  leaves 
a  family  of  five  children,  all  of  whom,  except- 
ing the  oldest  son,  who  is  organist  of  Ply- 
mouth Church,  Brooklyn,  were  present  at  the 
time  of  his  death.  The  youngest  member  of 
the  family  is  a  daughter  of  sixteen.  The  fun- 
eral service  was  held  at  the  Metropolitan 
Opera  House  on  the  Wednesday  afternoon  fol- 
lowing his  death.  An  immense  concourse  of 
people  made  the  occasion  a  very  solemn  one. 
Friends  and  strangers  alike  sadly  paid  their 
last  respects.  Siegfried's  funeral  march  from 
"  Gotterdammerung  "  and  several  selections 
from  oratorios  were  rendered. 

The  secret  of  Dr.  Damrosch's  success  as  a 
conductor  lay  not  only  in  the  precision  and 
surety  with  which  he  wielded  the  baton,  but 
also  in  the  fine  artistic  conception  and  feel- 
ing with  which  he  interpreted  the  work 
under  consideration,  and  the  faculty  he  had 
of  imparting  this  feeling  to  his  forces.  Some 
conductors  are  coldly  perfect,  but  in  his  con- 
ducting the  artist-musician  could  at  once  be 
recognized.  Though  his  reputation  is  mainly 
that  of  a  conductor,  he  was  far  from  being 
unknown  both  as  a  violinist  and  a  composer. 
His  attachment  for  and  study  of  the  violin  have 
previously  been  touched  upon,  and  it  will  suf- 
fice to  add  here  that  though  hardly  to  be  con- 
sidered a  virtuoso  in  the  sense  of  being  a  phe- 
nomenal performer,  he  exquisitely  played  that 
instrument.  So  much  of  his  time  was  taken  up 
by  other  duties  that  his  compositions  are  nof 
mimerous.  They  consist  of  a  biblical  idyl  or 
cantata,  "Ruth  and  Naomi;"  a  festival  over- 
ture and  other  orchestral  pieces ;  various 
pieces  for  the  violin,  among  which  is  a  con- 
certo ;  a  collection  of  church  music,  "St. 
Cecelia;"  a  number  of  male  choruses,  and 
some  songs. 

Dr.  Damrosch's  fine  qualities  as  a  musician 
were  well  supplemented  by  those  of  a  gentle- 
man. His  kindly  nature  at  once  put  you  at 
ease  in  his  society.  He  was  well  read  in  lit- 
erature, art,  and  science,  and  an  excellent  con- 
versationalist. Among  America's  musicians 
none  stood  higher  and  few  have  done  more  for 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


47 


the  advancement  of  the  art.  To  all  human 
knowledge  he  seemed  destined  for  long  years 
of  usefulness  yet.  Death  has  removed  a  stai  of 
the  first  magnitude  from  the  musical  firmament, 
whose  place  will  not  be  easily  filled.  The 
name  of  Dr.  Leopold  Damrosch  will  live  long 
in  memory  and  occupy  an  imperishable  place 
in  history. 

Daniel,  John,  one  of  the  oldest  music 
teachers  in  America  at  the  time  of  his  death, 
was  born  in  1803,  at  Aberdeen,  Scotland. 
His  music  lessons  were  commenced  in  the 
house  in  which  Lord  Byron  was  born,  and  with 
this  poet  as  well  as  with  Burns  he  became 
well  acquainted.  In  1S40  he  came  to  the 
United  States  and  settled  at  New  York,  where 
he  was  highly  esteemed  as  a  teacher  of  vocal 
and  instrumental  music,  numbering  among  his 
pupils  many  of  the  wealthier  classes.  His 
compositions  are  numerous  and  in  almost  every 
form.     He  died  in  New  York,  June  21,  1S81. 

Daniel.  1. — A  sacred  cantata  written  by 
Dr.  Geo.  F.  Root,  assisted  by  C.  M.  Cady  and 
W.  B.  Bradbury.  First  produced  in  New 
York  City,  in  1853. 

2.  An  oratorio  by  George  F.  Bristow,  first 
produced  at  Steinway  Hall,  New  York,  Dec. 
30,  1S67,  by  the  Mendelssohn  Union,  with 
Mme.  Parepa-Rosa  as  chief  vocalist.  It  is 
one  of  Mr.  Bristow's  greatest  works. 

DailkS,  Hart  P.  This  well-known  and 
very  successful  song  composer  was  born 
April  6,  1834,  at  New  Haven,  Conn.  When 
he  was  eight  years  old  his  parents  removed 
to  Saratoga,  N.  Y.  At  an  early  age  he  showed 
the  true  bent  of  his  nature,  and  was  placed 
under  the  care  of  Dr.  L.  E.  Whiting  of  Sara- 
toga, who  was  an  excellent  amateur  musician 
as  well  as  a  physician.  His  progress  was  so 
rapid  that  he  was  soon  admitted  to  the  choir  of 
the  First  Presbyterian  church  over  which  Dr. 
Whiting  presided.  Some  time  after  he  accept- 
ed a  similar  position  in  the  choir  of  the  M.  E. 
Church,  About  1850  his  parents  removed 
again,  this  time  to  Chicago,  where  he  was 
engaged  as  bass  at  the  Clark  street  M.  E. 
Church,  his  voice  having  changed.  Soon 
after  removing  to  Chicago  he  began  to  try  tys 
hand  at  composing,  but  his  father,  who  had  no 
idea  of  his  following  music  as  a  profession, 
looked  upon  all  this  as  foolishness,  and  put 
the  young  man  to  work  at  his  own  trade,  that 
of  a  builder. 


It  was  about  this  time  that  William  B. 
Bradbury,  then  in  the  hight  of  his  career,  held 
a  convention  in  the  city,  which  young  Danks 
attended.  Plucking  up  courage  he  presented 
to  that  excellent  musician  a  copy  of  his  first 
hymn-tune,  with  a  request  that  it  be  exam- 
ined. Mr.  Bradbury  was  so  much  pleased 
with  it  that  he  inserted  it  in  his  next  book,  the 
"Jubilee,"  under  the  name  of  "  Lake  Street." 
This  decided  Mr.  Dank's  future  course,  and  he 
devoted  himself  to  study  and  composition. 
His  first  song,  "The  Old  Lane,"  was  pub- 
lished by  Higgins  Brothers  of  Chicago,  in 
1856.  It  was  followed  in  the  same  year  by 
his  second  song,  "  Anna  Lee,"  published  by 
Ditson  &  Co.  of  Boston.  In  1S5S  he  married 
Miss  Hattie  R.  Colahan  of  Cleveland,  Ohio, 
making  that  city  his  residence  until  1861, 
when  he  returned  to  Chicago,  where,  how- 
ever, he  remained  only  three  years.  At  the 
expiration  of  that  time  he  removed  to  New 
York  City,  where  he  has  since  resided. 

Mr.  Danks  does  not  aspire  to  be  ranked  as  a 
classical  musician,  but  his  music  is  of  fair 
order,  flowingly  written,  and  well  appreciated 
by  the  masses.  Among  his  most  popular 
songs  are  "Let  the  Angels  in,"  "Roses  un- 
derneath the  Snow,"  "  Nobody's  Darling  but 
Mine,"  "  You  are  always  young  to  me,"  "Lit- 
tle Bright-eyes,  will  you  miss  me,"  "Angel  of 
Beauty,"  "Fly  Back,  O  Years,"  etc.  The 
most  popular  of  all,  however,  was  "Silver 
Threads  Among  the  Gold,"  published  in  1872, 
which  sold  to  the  extent  of  over  300,000  copies 
in  this  country  alone,  to  say  nothing  of  Eng- 
land. "Don't  be  angry  with  me,  Darling," 
though  published  two  years  earlier,  achieved  a 
success  almost  as  great.  For  six  or  seven 
years  Mr.  Danks  has,  under  contract,  furnished 
an  English  music  publishing  firm  in  London 
with  songs.  Though  so  successful  as  a  song 
composer  he  has  composed  much  church 
music,  and  edited  several  collections  of  an- 
thems, etc.  Among  his  works  is  also  the 
operetta,  "Pauline."  Mr.  Danks  is  still  in 
the  prime  of  life  and  his  pen  ever  busy. 

Decker  Brothers,  New  York  City. 
This  firm  of  American  piano  manufacturers 
was  established  in  1862,  by  two  brothers, 
David  and  John  Jacob  Decker.  Both  were 
thoroughly  conversant  with  the  business, 
having  worked  for  years  in  the  best  manu- 
factories of  this  country  previous  to  setting  up 


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HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


on  their  own  hook.  Their  first  attempt  at 
piano  making  was  on  a  small  scale,  the 
money  saved  by  steady  industry  and  economy 
while  working  for  others  being  their  only 
capital.  This  was  sufficient  to  manufacture  a 
few  square  pianos,  which  were  made  in  the 
best  manner.  The  aim  of  Messrs.  Decker 
Brothers  at  first  was  the  production  of  a  few 
pianos  for  retail  trade  in  New  York  and 
vicinity,  but  these  meeting  with  a  very 
favorable  reception,  the  present  large 
business  of   the  firm  was  rapidly    developed. 

The  youngest  of  the  brothers,  John  Jacob 
Decker,  is  an  expert  in  judging  of  the 
quality  of  piano  materials.  Early  in  life  he 
was  employed  by  Messrs.  Raven  &  Bacon  as 
superintendent  of  their  manufactory.  He 
had  held  this  position  scarcely  three  months 
when  he  was  admitted  into  the  firm  as  a  part- 
ner. Here  he  continued  eight  years,  when 
he  withdrew  to  establish,  in  partnership  with 
his  brother,  their  present  business. 

Messrs.  Decker  Brothers,  constantly  aim- 
ing for  improvement,  have  invented  and 
patented  several  improvements,  whereby  the 
tone  and  finish  of  their  pianos  is  materially 
bettered.  Probably  the  most  important  one 
is  the  improved  construction  of  the  full  iron 
plate,  whereby  the  necessity  of  placing  the 
string  bearings  on  the  plate  is  obviated. 
Thus  a  better  and  purer  tone  is  secured. 
The  strings  are  also  hitched  to  the  pins 
close  to  the    wrest-plank. 

As  a  proof  of  the  high  esteem  in  which 
the  Decker  Brothers'  pianos  are  held,  it  may 
be  stated  that  in  the  short  space  of  twenty 
years  their  business  has  increased  from  almost 
nothing  to  the  present  large  proportions,  so 
that  now  they  have  a  manufactory  equal  in 
point  of  size  and  convenience  to  the  manufac- 
tories of  many  much  older  firms.  To  their 
already  well-established  reputation  they  are 
constantly  adding  by  their  improved  methods 
of  piano  making. 

Decker    &    Son.    A    firm   of  piano 

manufacturers,  located  in  New  York  City,  and 
founded  in  1856,  by  the  present  senior  member 
of  the  firm,  Myron  A.  Decker.  In  that  year  he 
commenced  business  in  Albany,  N.  Y.,  and  in 
1858  received  an  award  of  merit  for  his  pianos 
at  the  state  fair  held  at  Syracuse.  Not  liking 
Albany,  he  removed  to  New  York  City,  in 
1S60.     There   he  continued  in  business  alone 


until  the  year  1865,  his  pianos  being  known  as 
the  Decker  piano.  In  the  last  mentioned  year, 
he  associated  himself  with  a  partner.  The 
partnership  did  not  last  long,  however,  and  in 
186S  the  business  was  closed  up.  Nothing 
daunted  by  one  failure,  Mr.  Decker  started 
anew  in  the  business,  and  in  1871  associated 
himself  in  partnership  with  a  gentleman  by  the 
name  of  Barnes.  Their  pianos  became  known 
as  the  Decker  &  Barnes.  The  partnership 
proved  mutually  agreeable,  and  lasted  until 
the  winter  of  1877,  when  Mr.  Barnes  lost  his 
wife,  and  his  health  being  poor  he  withdrew 
fi-om  the  firm,  leaving  Mr.  Decker  alone. 
Mr.  Decker  continued  the  business  alone  until 
July,  1878,  when  he  associated  his  son  with 
himself,  and  the  firm  became  Decker  &  Son. 
Their  pianos  now  became  known  by  that  name, 
which  they  still  bear. 

D  engremont  Maurice,  born  in  1865, 
in  Rio  Janerio,  Brazil,  exhibited  a  wonderful 
precocity  for  the  violin  when  a  mere  infant. 
He  has  already  made  several  concert  tours 
both  in  this  country  and  Europe,  astonishing 
everyone  by  his  phenomenal  powers  of  per- 
formance. His  gifts  and  acquirements  would 
seem  to  indicate  that  he  is  to  be  one  of  the 
most  eminent  of  future  violinists. 

Dictionaries  ol'Mnsic,  American. 

The  number  of  American  encyclopaedias  or 
dictionaries  is  very  small.  The  largest  and 
most  important  one  is  "  Complete  Encyclopae- 
dia of  Music,"  by  John  W.  Moore,  1  vol.  8  vo. 
of  over  1000  pages  ;  Boston,  O.  Ditson  &  Co., 
1854.  Much  valuable  matter  is  contained  in 
the  work,  but  it  is  somewhat  inaccurate  as  re- 
gards the  biographies  of  foreign  musicians. 
The  number  of  topics  treated  is  large.  So 
rapid,  however,  has  been  the  progress  of  musi- 
cal affairs,  especially  in  this  country,  since  the 
book  was  first  published  (some  30  years)  that 
it  is  now  considerably  out  of  date.  Were  it  re- 
vised and  corrected  to  the  present  time,  it 
would  be  a  very  valuable  work  indeed,  and 
we  understand  that  Mr.  Moore  has  (1884)  un- 
dertaken that  task.  He  has  in  the  meantime 
edited  a  "  Dictionary  of  Musical  Information," 
Boston,  O.  Ditson  &  Co.,  1876,  which  is  a  neat 
little  work.  An  exceedingly  handy  little  dic- 
tionary is  "  Ludden's  Pronouncing  Dictionary 
of  Musical  Terms,"  12  mo.,  New  York,  J.  L. 
Peters,  1875,  which  contains  nearly  all  musi- 
cal terms  from   the  principal   languages,  with 


HANDBOOK   OF   AMERICAN    MUSIC   AND   MUSICIANS. 


49 


their  pronunciation  and  a  short  definition.  A 
still  more  recent  and  a  commendable  little 
book  is  "  Mathews'  Dictionary  of  Music  and 
Musicians,"  by  W.  S.  B.  Mathews,  published 
by  the  author  at  Chicago,  111.,  in  i  vol.  Svo., 
1880. 

Ditson,  Oliver,  well-known  as  the  foun- 
der and  senior  member  of  the  music-publishing 
firm  bearing  his  name,  was  born  in  1812,  and 
when  twelve  years  of  age  entered  the  store  of 
Samuel  II.  Parker,  bookseller  and  stationer, 
as  clerk.  In  1834  he  became  one  of  the  pro- 
prietors, under  the  firm  name  of  Parker  & 
Ditson,  and  .in  1844  so^e  proprietor,  Mr. 
Parker  withdrawing.  The  publication  of 
sheet  music  and  music  books  was  commenced 
in  1834.  From  almost  nothing,  under  the 
care  of  Mr.  Ditson,  the  business  has  increased 
to  its  present  colossal  proportions,  always 
keeping  abreast  of  the  times.  The  firm  consists 
of  Oliver  Ditson,  John  C.  Haynes,  and  Charles 
II.  Ditson.  The  senior  member,  though  well 
advanced  in  years,  is  still  active  and  exercises 
a  general  supervision  of  affairs. 

Ditson,  Oliver  &  Co.,  Boston,  Mass. 
This,  with  its  branches,  is  one  of  the  largest 
music-publishing  houses  in  the  United  States, 
as  well  as  in  the  world.  It  is  also,  with  per- 
haps one  exception,  the  oldest  American  house 
now  doing  business.  Samuel  H.  Parker, 
bookseller  and  stationer,  who  kept  a  store  in 
Boston,  commenced  selling  music  about  the 
year  1820.  In  1824  there  entered  his  store 
as  clerk  a  young  man  by  the  name  of  Oliver 
Ditson.  Ten  years  later,  or  in  1834,  he  was 
admitted  into  partnership  with  Mr.  Parker, 
and  the  firm  became  Parker  &  Ditson. 
The  publication  of  sheet  music,  music  books, 
etc.,  was  now  commenced,  and  from  this  time 
dates  the  foundation  of  the  present  house  of 
Oliver  Ditson  &  Co. 

The  firm  continued  as  Parker  &  Ditson 
until  1844,  when  Mr.  Parker  withdrew.  It 
now  became  simply  Oliver  Ditson,  who  was 
left  alone,  and  who  conducted  the  growing 
business  with  marked  ability  and  success. 
He  continued  alone  until  1856,  when  he  ad- 
mitted into  partnership  John  C.  Haynes,  who 
had  been  in  his  employment  from  boyhood, 
and  the  firm  became  Oliver  Ditson  &  Co., 
Ihe  present  name  of  the  house. 

This  is  a  brief  history  of  the  parent  house. 
But  Messrs.  O.  Ditson  &Co.,  to  accommodate 


their  large  business  in  various  parts  of  the 
country,  have  established  several  branch 
houses.  In  1867,  they  established  C.  H. 
Ditson  &  Co.  in  business  in  New  York  City, 
by  the  purchase  of  the  catalogue  and  stock  of 
Firth,  Son  &  Co.  Mr.  Firth  was  formerly 
the  senior  partner  of  the  firm  of  Firth,  Hall  & 
Pond,  and  later,  Firth,  Pond  &  Co  (See  POND, 
Wm.  A.  &  Co.)  In  1876,  they  established  in 
business  J.  E.  Ditson  &  Co.,  in  Philadelphia, 
by  the  purchase  of  the  publications  and  stock 
of  Lee  &  Walker.  Lyon  &  Healy,  Chicago, 
were  also  established  in  business  by  them 
about  the  year  1865.  Some  years  ago,  C.  H. 
Ditson  &  Co.,  New  York,  purchased  the  cata- 
logue and  publications  of  J.  L.  Peters,  of  that 
city.  Thus  it  will  be  seen  that  Ditson  &  Co. 
have  gradually  absorbed  several  other  smaller 
music-publishing  firms. 

Messrs.  Ditson  &  Co.  largely  publish  both 
foreign  and  American  music  of  all  kinds. 
Their  catalogue  embraces  a  list  of  over  So,ooo 
different  pieces  of  sheet  music,  and  more  than 
2000  music  books,  among  which  are  the  lives 
of  all  the  great  masters,  works  on  the  art  and 
science  of  music,  dictionaries,  encyclopaedias, 
etc.  They  deserve  credit  for  rendering  avail- 
able to  American  readers  many  foreign  works 
on  music.  They  are  the  agents  in  this  coun- 
try for  the  English  publications  of  Novello, 
Ewer  &  Co. 

Doctor   of  Alcantara,    The.    An 

opera  in  two  acts,  by  Julius  Eichberg.  Libretto 
by  Benjamin  E.  Woolf.  First  produced  at  the 
Boston  Museum,  April  7,  1S62.  Its  success  was 
something  remarkable.  It  has  been  sung  in 
every  part  of  the  country,  but  still  retains  its 
popularity. 

DobSOIl,  GEORGE  C,  was  born  at  Wil- 
liamsburg, N.  Y.,  in  April,  1842.  From  boy- 
hood he  evidenced  a  great  liking  for  the  banjo, 
on  which  he  has  become  an  unrivaled  per- 
former. He  has  appeared  at  concerts  in  the 
principal  cities  of  the  country  and  has  done 
much  to  popularize  an  instrument  which  had 
not  been  looked  upon  with  much  favor.  He 
resides  at  Boston,  where  he  owns  and  person- 
ally conducts  a  banjo  manufactory.  His  num- 
erous instruction  books  for  the  banjo  are  the 
best  of  their  kind  and  the  result  of  many  years' 
experience  as  a  teacher. 

Dressel,  Otto,  was  born  in  1826,  at  An- 
dernach-on-the-Rhine,    and   after  acquiring  a 


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HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


good  fundamental  knowledge  of  music  placed 
himself  under  Hiller  at  Cologne  and  then  un- 
der Mendelssohn  at  Leipzig.  In  the  autumn 
of  1S52  he  came  to  Boston,  where  he  has  ever 
since  resided.  His  life  has  been  an  unevent- 
ful one,  and  perhaps  his  name  is  not  so  well 
known  outside  of  Boston  as  that  of  many  other 
musicians,  but  he  has  exercised  a  powerful  in- 
fluence for  good  on  the  musical  tastes  of  that 
city,  and  to  him  is  largely  due  the  leading 
place  which  it  now  occupies.  He  is  a  highly 
refined  and  cultivated  musician,  and  fully  ac- 
quainted with  the  works  of  Mendelssohn, 
Schumann,  Bach,  Chopin,  Beethoven,  and 
other  masters.  He  was  the  intimate  friend  of 
Robert  Franz,  and  introduced  the  songs  of  that 
composer  in  this  country.  His  own  composi- 
tions consist  of  songs,  piano  pieces,  quartets, 
etc.,  all  of  which  bear  the  impress  of  a  finished 
musician. 

Dwight, '  John  Sullivan,  one  of  the 
most  widely  known  and  oldest  musical  writers 
in  America,  was  born  May  13,  1813,  at  Boston, 
Mass.  At  an  early  age  his  love  of  music 
manifested  itself.  Having  completed  an  ele- 
mentary education  at  the  public  schools,  he 
entered  Harvard  University,  studying  dilli- 
gently  and  graduating  therefrom  in  1832. 
While  at  the  University  he  was  a  member  of  a 
musical  society  formed  of  students  and  called 
Pierian  Sodality,  which  afterwards  developed 
into  the  Harvard  Musical  Association. 
•During  this  time  he  practiced  on  the  clarinet, 
but  finding  the  exertion  too  great,  relinquished 
it  for  the  flute.  He  also  made  the  acquaint- 
ance of  several  of  the  works  of  Beethoven  and 
Mozart  by  gradually  picking  out  their  beauties 
himself.  After  having  graduated  from  the 
University  he  entered  the  school  of  divinity 
and  studied  for  the  ministry.  Upon  complet- 
ing the  theological  course  he  was  ordained  as 
pastor  of  the  Unitarian  church  at  Northamp- 
ton, Mass.  The  ministry,  however,  did  not 
seem  to  be  his  sphere,  and  he  left  it  after  a  few 
years  to  devote  himself  entirely  to  literary  pur- 
suits. It  was  about  this  time  that  he  began  to 
make  himself  known  as  a  writer  on  various 
musical  subjects. 

Mr.  Dwight  was  one  of  the  founders  of  the 
Brook's  Farm  community,  where  he  remained 
during  the  six  years  that  the  community  flour- 
ished, contributing  meanwhile  to  the  Dial  and 
the  Christian  Examiner,  and  striving  in  various 


ways  to  advance  the  cause  ot  music.  In  the 
organization  of  the  Harvard  Musical  Associa- 
tion, which  occurred  Aug.  30,  1837,  he  took  a 
prominent  part,  and  much  is  due  to  his  wise 
counsels  and  suggestions.  The  Association 
grew  rapidly  and  its  headquarters  were  soon 
removed  to  Boston.  At  its  annual  dinners 
have  been  originated,  discussed,  and  set  on 
loot  many  important  musical  schemes,  among 
them  the  building  of  the  Music  Hall  and  the 
series  of  symphony  concerts.  The  first  number 
of  Dwight's  Journal  of  Music,  which  has 
rendered  its  founder's  name  so  familiar,  was 
issued  April  10,  1852.  Its  aim  was  solely  the 
advancement  of  the  art,  and  it  was  for  a  long 
time  the  only  paper  of  its  kind  ;  in  fact,  it  has 
always  occupied  a  rather  unique  position.  No 
better  person  than  Mr.  Dwight  could  have  been 
selected  for  its  editor,  the  great  mass  of  whose 
valuable  musical  writings  is  to  be  found  in  it. 
For  twelve  or  fifteen  years  it  was  published  as 
a  weekly  and  then  changed  to  a  bi-weekly. 
In  1S81  it  ceased  to  exist. 

Mr.  Dwight  was  probably  the  earliest  musi- 
cal writer  in  this  country  who  can  really  lie 
called  such.  His  articles  were  always  well 
written  and  to  the  point,  and  though  on  ac- 
count of  their  high  standard  they  often  ran 
counter  to  the  public  taste,  they  carried  with 
them  a  weight  whicli  compelled  attention. 
When  he  commenced  writing  the  appreciation 
of  music  was  at  a  very  low  ebb.  How  much 
influence  his  pen  has  had  in  bringing  about  the 
present  high  state  of  musical  culture  in  Boston, 
and  thus  to  a  greater  or  lesser  extent  that  of 
the  whole  country,  it  would  be  impossible  to 
fully  ascertain,  though  very  great.  Whatever 
the  public  standard  has  been  he  has  never 
lowered  his  own  ideals,  and  it  seems  quite 
likely  that,  contrary  to  the  case  of  most  re- 
formers, he  will  live  to  see  them  fulfilled. 
Besides  his  musical  articles,  he  has  written 
considerable  on  other  subjects,  and  is  the  com- 
piler of  a  collection  of  excellent  translations  "t 
select  minor  poems  from  Goethe  and  Schiller, 
which  forms  one  of  the  series  of  Ripley's 
"  Specimens  of  Standard  Foreign  Literature." 

Mr.  Dwight  is  unmarried,  having  lost  his 
wife  many  years  ago.  He  lives  in  one  of  the 
Harvard  Musical  Association's  rooms,  and  has 
charge  of  its  library.  It  is  plainly  but  com- 
fortably furnished.  Over  the  lire-place  hangs 
an  original   painting  of  Gluck,   made  by   Du- 


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5i 


plessis  of  Paris,  and  over  a  mantel  a  framed 
autograph  letter  of  Beethoven,  while  in  the 
middle  of  the  room  stands  a  grand  piano. 
Here  he  spends  many  quiet  hours,  which  he 
has  fairly  earned.  As  a  token  of  the  esteem  in 
which  he  is  held,  he  was  tendered  a  henefit 
concert,  Dec.  9,  18S0,  which  was  the  most 
successful  affair  of  the  season  and  realized  sev- 
eral thousand  dollars. 

Dtv  ight's  Journal  of  Music,  Bos 
TON,  Mass.,  edited  by  John  S.  Dwight,  was  for 
a  long  time  one  of  the  leading  musical  journals 
of     America.     It     was    established    by    Mr. 


Dwight  in  1852.  Although  Mr.  Dwight  is  not 
a  professional  musician,  his  writings  on  music 
have  exercised  a  powerful  influence,  and  al- 
ways on  the  side  of  truth  and  nobility. 
Through  the  columns  of  his  journal  he  has  al- 
ways sought  to  advance  the  art.  For  six  year 
he  was  editor,  proprietor  and  publisher,  when 
the  publication  was  assumed  by  O.  Ditson  & 
Co.  It  was  changed  from  a  weekly  to  a  fort- 
nightly during  the  war.  After  an  active  and 
useful  life  of  nearly  30  years,  it  ceased  to 
exist  in  1S81. 


E. 


Eddy,  Hiram  Clarence,  one  of  Ameri- 
ca's best  organists,  was  born  June  23,  1851,  at 
Greenfield,  Mass.,  and  consequently  is  still  a 
comparatively  young  man.  From  his  earliest 
youth,  however,  he  has  devoted  himself  as- 
siduously to  music.  He  studied  for  some  time 
with  Dudley  Buck,  and  in  1872  or  1S73  went  to 
Germany,  where  he  placed  himself  under  the 
direction  of  Haupt,  at  Berlin,  with  whom  he 
remained  two  years.  While  at  Berlin  he  was 
called  upon  to  play  at  a  court  concert,  and 
rendered  Bach's  Fantasia  in  C  and  Merkel's 
sonata  in  G  minor  in  a  manner  to  call  forth 
hearty  praise  from  the  critics.  He  also  made 
a  tour  through  Germany,  Austria,  and  Switz- 
erland, meeting  with  great  applause  every- 
where. On  his  way  home  he  played  with 
equal  success  in  Holland,  Belgium,  France, 
and  England,  and  made  it  a  point  to  test  all  the 
great  organs. 

In  1S75  he  returned  to  his  native  country 
and  located  at  Chicago,  where  he  became  di- 
rector of  the  Hershey  Music  School,  marrying 
its  founder,  Mrs.  Sara  B.  Hershey,  in  1879. 
He  has  regularly  given  organ  recitals,  complet- 
ing in  June,  1879,  the  100th  of  the  series, 
without  repeating  a  single  number.  Besides 
these  he  has  given  recitals  in  many  of  the 
principal  cities  and  towns  of  the  country, 
uniformly  with  success.  In  addition  to  his 
duties  as  director  of  the  Hershey  School,  he  is 
at  present  (June,  1883)  organist  of  the  First 
Presbyterian  Church,  Chicago. 

Mr.  Eddy  has  a  wonderful  command  of  his 
instrument,  and  plays  with  an  ease  and  grace 
that  charms  the  hearer.  His  programs  include 
classical  and  romantic  music  cf  every  kind, 
and  he  seems  equally  skilled  in  rendering 
either.  As  a  key  to  his  wonderful  power  of 
playing  it  may  be  stated  that  while  in  Germany 
he  for  several  months  made  it  a  point  to  play 
the  six  organ  sonatas  of  Bach  every  day  in  ad- 
dition to  his  regular  studies.  After  one 
month's  careful  study  he  was  enabled  to  master 
Thiele's  "  Theme  and  Variations  in  C," 
which  he  played  before  Haupt.  His  own 
compositions  consist   of  canons,   preludes  and 


fugues,  and  some  other  organ  music,  all  of  high 
order.  He  translated  and  produced  in  this 
country  Haupt's  "Theory  of  Counterpoint 
and  Fugue." 

Edwin  and  Angelina.   One  of  the 

early  American  attempts  at  operas.  *  The 
libretto  is  by  Dr.  E.  H.  Smith,  of  Connecticut, 
and  founded  on  Goldsmith's  poem;  the  music 
by  M.  Pellesier,  a  French  resident  of  New 
York.  Produced  in  New  York,  Dec.  19,  1798. 
Eichberg",  Julius,  one  of  America'srepre- 
sentative  musicians,  was  born  June  13,  1824, 
at  Dusseldorf,  Germany.  Pie  came  of  a  musi- 
cal family,  his  father  being  an  excellent  musi- 
cian, who  early  taught  his  son  the  rudiments 
of  music.  Young  Eichberg  was  used  to  the 
violin  from  his  earliest  childhood,  and  at  the 
age  of  seven  years  was  able  to  play  acceptablv. 
It  is  related  that  one  time  being  confined  to 
his  bed  by  illness  his  father  brought  him  a 
piece  of  music  paper,  on  which  was  written  a 
melody,  and  requested  him  to  sing  it  at  sight, 
which  was  considered  no  unusual  thing.  Upon 
his  failing,  his  father  playfully  remarked:  "You 
will  never  be  a  musician ;  you  are  more  fit  for 
a  cobbler,"  a  prediction  which  has  signally 
proved  untrue.  At  the  age  of  eight  years  he 
was  sent  to  Mayence,  where  he  became  a  pupil 
on  the  violin  of  F.  W.  Eichler,  a  noted  violin- 
ist, but  when  this  musician  departed  on  a  con- 
cert tour,  he  was  placed  under  another  teacher, 
a  selfish,  unprincipled  man,  by  whom  he  was 
shamefully  treated.  From  Mayence  he  re- 
turned to  his  native  place  and  was  once  more 
under  the  care  of  his  father.  Pie  also  studied 
harmony  of  J.  Rietz,  afterwards  director  of  the 
Gewandhaus  concerts  and  capellmeister  to  the 
King  of  S.ixony  at  Dresden.  He  was  a  mem- 
ber of  the  orchestra  at  Dusseldorf  as  one  of  the 
second  violins.  About  this  time  he  became 
acquainted  with  Schumann.  Burgmiiller  was 
a  frequent  visitor  at  the  Eichberg  home.  In 
1S43  or  1844  he  entered  the  Brussels  Conser- 
vatoire, under  Fetis,  studying  there  two  years 
and  peifecting  himself  in  the  theory  of  music. 
Upon  graduating  he  took  the  first  prize  for 
violin   playing  and   for  composition.     After  a 


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53 


short  rest  he  went  to  Geneva  as  the  director  of 
an  opera  troupe.  His  abilities  were  soon  rec- 
ognized, and  he  was  appointed  a  professor 
in  the  conservatory  there  and  had  charge 
of  the  music  in  one  of  the  churches.  He  re- 
mained in  Geneva  for  eleven  years. 

In  1S57  Mr.  Eichberg  came  to  this  country 
with  a  view  of  benefiting  his  health  and 
landed  in  New  York  City.  For  some  time  he 
taught  and  played  there,  but  gaining  no  per- 
manent position  he  in  1859  went  to  Boston, 
where  he  was  engaged  as  director  of  music  at 
the  Museum.  This  position  he  retained  seven 
years,  and  after  a  year's  rest,  in  1867  estab- 
lished the  Boston  Conservatory  of  Music 
(See  Boston),  one  of  the  best  institutions 
of  its  kind  in  this  country,  of  which  he  is  still 
the  head,  and  through  which  he  has  exercised 
a  powerful  influence  on  the  musical  tastes  of 
the  people.  The  violin  school  connected  with 
the  Conservatory  is  under  his  immediate  care 
and  is  the  best  in  America.  He  has  done 
much  to  render  the  violin  a  popular  instru- 
ment, and  especially  to  remove  the  prejudice 
which  has  long  existed  toward  it  as  being 
unsuited  for  the  use  of  ladies. 

Mr.  Eichberg's  works  are  quite  numerous. 
The  best  known  of  them  all  in  this  country  are 
the  four  operettas,  "The  Doctor  of  Alcantara," 
"  The  Rose  of  Tyrol,"  "  Two  Cadis,"  and  "  A 
Night  in  Rome."  The  first  mentioned  of 
these  was  first  produced  April  7,  1862,  at  the 
Museum,  Boston,  and  had  an  extraordinary 
run.  It  has  been  played  in  all  the  principal 
towns  and  cities  of  the  different  States,  and 
still  retains  its  popularity.  The  other  three 
were  also  successful,  though  not  to  the  same 
degree.  His  other  works  are  several  books  of 
violin  studies,  which  have  been  adopted  in  va- 
rious European  conservatories;  two  volumes 
for  use  in  the  Boston  public  schools,  of  which 
he  for  man}'  years  had  the  musical  charge ; 
a  set  of  piano  pieces  called  "Lebensfruhling" 
and  published  at  Leipsic ;  a  set  of  string 
quartets  ;   and  numerous  songs,  etc. 

Eisfelcl,  Theodore,  was  born  at  Wol- 

fenbiUtel,  Germany,  in  1S16.  He  was  taught 
the  violin  by  Karl  Muller  at  Bremen  and  com- 
position by  Reissiger  at  Dresden.  In  1S48  he 
came  to  the  United  States,  and  located  at 
New  York.  He  returned  to  Europe  for  a 
visit,  and  on  the  passage  back  in  1858  was  one 


of  the  few  survivors  of  the  steamer  "Austria," 
which  burnt  in  mid-ocean.  He  was  conductor 
of  the  Philharmonic  Society  for  many  years  and 
also  of  the  Harmonic  Society  when  first  estab- 
lished. He  was  also  leader  of  the  Eisfeld 
quartet  soirees,  the  first  concert  of  which  was 
given  Feb.  18,  1S51.  Eisfeld  held  a  high 
position  in  New  York  musical  circles,  and 
was  greatly  esteemed  both  as  a  man  and  as 
an  artist.  He  returned  to  Europe  in  1866, 
and  died  at  Wiesbaden,  Sep.  16,  1S82. 

Electric    Piano.     In    185 1,   Thomas 

Davenport  of  Salisbury,  Vermont,  made  an  at- 
tempt to  prolong  the  tones  of  a  piano  by  the 
introduction  of  electricity,  and  with  partial 
success.  It  does  not  appear,  however,  that 
his  experiments  resulted  in  anything  practical. 

Some  years  ago  a  piano  was  exhibited  in 
Paris  which  had  an  ordinary  keyboard,  but 
the  music  was  produced  mechanically  from 
perforated  paper  which  passed  between  two 
cylinders  of  wood  and  over  a  third  one  of 
metal.  Whenever  the  perforations  came  in 
the  right  place  a  small  copper  hammer  passed 
through  and  established  an  electric  current 
which  operated  the  hammer  that  struck  the 
strings.  The  experiment  was  interesting  but 
of  no  real  value. 

ELson,  Louis  C,  was  bom  April  17, 
1848,  at  Boston,  Mass.  He  began  the  study  of 
music  in  childhood,  relinquishing  it  only  for 
a  short  time  while  he  was  engaged  in  mercan- 
tile pursuits.  Upon  returning  to  his  favorite 
art  he  studied  with  renewed  dilligence  under 
August  Kreissmann,  Gloggner-Castelli,  and 
others.  As  a  singer  he  was  chiefly  interested 
in  German  "lieder"  or  songs,  and  introduced 
many  of  them  in  this  country  by  faithful  trans- 
lations. He  has  also  translated,  adapted,  or 
arranged  a  large  number  of  French,  Italian, 
and  English  songs.  In  1S77  he  began  to 
make  himself  known  in  the  field  of  musical 
literature  by  becoming  assistant  editor  of  the 
Vox  Humana.  In  1879  he  became  sole  editor. 
He  was  prominently  identified  with  the  Musi- 
cal 'limes  and  Trade  Review  during  its  brilliant 
career,  and  is  at  present  connected  with  the 
leading  musical  journals  of  America.  His 
criticisms  are  widely  read  and  appreciated. 
He  has  written  some  vocal  and  instrumental 
music,  which  is  of  fair  order  and  shows  a  de- 
cided leaning  toward  the  German  style.  His 
book,    "  Curiosities    of   Music,"   a  historv    of 


54 


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music  in  a  popular  form,  was  published  in 
1880  by  O.  Ditson  &  Co.,  Boston.  Besides 
his  musical  works  and  articles  he  has  written 
several  poems. 

Emerson,  Luther  Orlando,  was  born 
Aug.  3,  1S20,  at  Parsonsfiekl,  Maine.  His 
early  life  seems  to  have  been  devoted  to  other 
pursuits,  for  it  was  not  until  he  was  twenty- 
four  years  of  age  that  he  seriously  set  to  work 
to  study  music.  His  first  collection  of  music, 
the  "  Romberg  Collection,"  designed  for  the 
church,  was  published  in  1853.  This  was  fol- 
lowed in  1857  by  the  Sunday  school  book, 
"Golden  Wreath,"  of  which  300,000  copies 
were  sold.  The  success  of  this  work  led  Mr. 
Emerson  to  devote  himself  largely  to  book- 
making,  ami  resulted  in  "The  Golden  Harp" 
(i860),  "The  Sabbath  Harmony"  (1863), 
"The  Harp  of  Judah "  (1865),  <<  Merry 
Chimes"  (1S66),  followed  by  the  "Jubilate," 
"Chorus  Wreath,"  "Greeting"  (glees), 
"Choral  Tribute"  (church  music),  "Glad 
Tidings"  (Sunday  school),  "  Sabbath  Guest  " 
(anthems),  "Emerson's  Singing  School," 
"National  Chorus  Book,"  "Chants  and  Re- 
sponses," "Episcopal  Chants,"  "The  Song 
Monarch"  (singing  schools),  "The  Stand- 
ard," and  "  The  Leader,"  the  latter  two 
being  for  the  church.  "  Cheerful  Voices,"  for 
the  Sabbath  school,  was  edited  in  conjunction 
with  H.  R.  Palmer,  and  "  The  Hour  of 
Singing,"  "The  High  School  Choir,"  and 
"The  American  School  Music  Readers,"  in 
three  volumes  and  graded  for  the  use  of  public 
schools,  in  conjunction  with  W.  S.  Tilden. 
Besides  these  he  has  published  some  other 
collections. 

Mr.  Emerson,  it  will  thus  be  seen,  is  a  pro- 
lific composer  of  church  and  easy  vocal  music, 
considerable  of  which  has  come  into  general 
use.  He  is  also  well  known  as  the  conductor 
of  musical  conventions  and  institutes  in  every 
part  of  the  country,  in  which  sphere  he  is  very 
successful,  having  a  rare  faculty  of  imparting 
instruction.  He  has  done  much  to  improve 
the  standard  of  church  music,  and  is  a  faithful, 
hard  worker.  Some  few  of  his  compositions 
have  been  published  in  sheet-music  form  and 
have  become  quite  popular. 

Emery,  Stephen  Albert,  was  born  at 
Paris,  Oxford  Co.,  Maine,  Oct.  4,  1S41.  His 
father,  Hon.  Stephen  Emery,  was  an  able 
lawyer  and    judge,    and    noted    for    his    legal 


ability  and  general  intelligence.  Young 
Emery  early  exhibited  more  than  ordinary  love 
of  music,  and  even  composed  some  little  piano 
pieces  before  he  was  able  to  read  notes,  his 
elder  sister  showing  him  how  to  write  them 
down.  After  a  common  school  education,  he 
fitted  for  college,  entering  Colby  University 
(then  known  as  Waterville  College)  in  the  fall 
of  1859,  but  owing  to  ill  health  and  a  partial 
loss  of  eyesight,  he  was  compelled  to  leave 
during  the  freshman  year.  He  then,  as  a  pas- 
time, took  up  the  study  of  the  piano  and  har- 
mony under  the  care  of  Henry  L.  Edwards  of 
Portland,  Me.  Upon  the  advice  of  his  teacher, 
he  went,  in  the  summer  of  1862,  to  Leipsic, 
where  for  two  years  he  continued  his  studies 
with  Papperitz,  Plaidy,  E.  F.  Richter,  and 
Hauptmann.  After  a  short  additional  time  in 
Dresden,  under  Spindler,  he  returned  to  the 
United  States,  remaining  in  Portland  until 
after  the  great  fire  of  1S66,  when  he  removed 
to  Boston.  He  was  engaged  as  teacher  of  the 
piano  and  harmony  at  the  opening  of  the  New 
England  Conservatory  of  Music,  in  1867,  and 
was  afterwards  appointed  professor  of  har- 
mony, theory,  and  composition,  in  the  Boston 
University  College  of  Music.  Mr.  Emery  has 
written  many  piano  pieces  and  songs.  His 
"  Foundation  Studies  in  Pianoforte  Playing," 
op.  35  (written  for  his  own  children),  is  a  re- 
markably simple  and  easy  course  for  beginners, 
while  his  "Elements  of  Harmony"  is  used 
throughout  the  country.  His  lectures  and 
editorial  contributions  to  the  "Musical  Her- 
ald "  have  exercised  a  decided  influence  in 
elevating  the  standard  of  musical  taste. 

Erraili,  ACHILLE,  one  of  the  most  success- 
ful vocal  teachers  of  this  country,  was  born  at 
Faenza,  Central  Italy,  in  1S24.  When  sixteen 
years  of  age  he  entered  the  Conservatorio  of 
Milan,  studying  singing  under  Vaccai.  He 
afterwards  was  a  private  pupil  of  that  master 
for  some  time,  and  then  came  before  the  pub- 
lic as  a  leading  tenor.  For  the  next  fifteen 
years  he  sang  in  the  principal  cities  of  Europe, 
and  at  the  end  of  that  time  came  to  the  United 
States,  landing  at  New  York.  He  made  his 
first  public  appearance  there  in  i860,  at  the  old 
Winter  Garden,  as  Ecigardo  in  "Lucia,"  with 
Maretzek  as  conductor.  After  visiting  the  prin- 
cipal cities  of  this  country,  Cuba,  and  Mexico, 
he  left  the  stage  and  settled  (1864)  in  New 
York  as  a  teacher.       Sig.  Errani  employs  only 


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55 


the  pure  Italian  method,  and  has  met  with 
great  and  well -deserved  success.  Among  his 
pupils  may  he  mentioned  Minnie  Hand:,  Emma 
Thursby,  Louise  Durand,  and  Stella  Konheur- 
He  is  still  (May,  18S5)  located  at   New  York. 

Estey,  Jacob  &  Co.  An  American 
reed  organ  manufacturing  firm  located  in 
BrattJeboro,  Vermont.  The  business  was  begun 
in  1846,  by  two  gentlemen.  Their  "  factoiy  " 
was  a  room  in  a  building  owned  by  Jacob 
Estey.  The  instruments  were,  of  course,  rude 
and  uncouth  as  compared  with  those  of  the 
present  day,  for  the  art  was  then  in  its  infancy. 
After  much  urging,  Mr.  Estey  reluctantly  con- 
sented to  take  an  interest  in  the  business  in  lieu 
of  rent  for  his  room.  It  appears  not  to  have 
been  very  profitable,  for  the  originators  lost  all 
heart  in  it,  and  in  1852  the  entire  concern 
passed  into  the  hands  of  Mr.  Estey.  At  this 
time  six  men  were  employed  in  the  establish- 
ment and  its  estimated  total  value  was  only 
32700! 

After  the  business  passed  into  Mr.  Estey's 
care,  he  succeeded  in  resuscitating  and  placing 
it  upon  a  substantial  basis.  He  was  burned 
out  in  1857,  but  rebuilt,  only  to  be  burned  out 
again  in  1864.  During  this  time  he  had  sever- 
al partners,  but  the  partnership  in  no  case 
seems  to  have  lasted  long.  In  1S66,  however, 
he  took  into  partnership  his  son,  Julius  J. 
Estey,  and  his  son-in-law,  Levi  K.  Fuller,  by 
which  the  present  firm  of  J.  Estey  &  Co.  was 
formed.     They  suffered  heavy  losses  by  a  flood 


in  1869,  but  nothing  daunted  they  purchased 
sixty  acres  of  land  on  which  to  erect  new 
buildings.  These  are  eight  in  number,  one 
each  for  the  various  branches  of  the  business, 
and  are  at  a  sufficient  distance  from  one  another 
to  insure  safety  in  case  of  fire. 

The  organs  of  Messrs  Estey  &  Co.  are  well 
known  in  this  country  and  also  abroad,  and 
rank  among  the  leading  makes.  The  firm  does 
an  immense  business,  amounting  to  over  one 
million  dollars  annually,  which  evidences 
great  prosperity  and  a  good  demand  for  their 
organs.  The  firm  has  very  recently  (Decem- 
ber, 1885)  begun  the  manufacture  of  upright 
pianos. 

Etude,  The.  A  musical  periodical  ed- 
ited by  Theodore  Fresser,  and  published  at 
Philadelphia,  Pa.  It  is  more  especially 
devoted  to  the  wants  and  needs  of  teachers  and 
students  of  the  piano.  From  eight  to  twelve  of 
its  thirty  pages  are  given  to  etudes,  exercises, 
teaching  pieces,  etc.  It  has  a  list  of  eminent 
contributors,  and  its  articles  are  clear,  forcible 
and  meritorious,  making  it  one  of  the  very 
best  journals  of  its  class  puhlished.  Issued 
monthly  at  £1.50  per  year.  Circulation  about 
2500.      Established  in  1S83. 

ElipllOIliad.  An  instrument  combining 
in  itself  the  tones  of  an  organ,  clarinet,  horn, 
bassoon,  and  violin,  and  invented  by  Peter  L. 
and  George  Grosh,  of  Petersburg,  Pa.  It  had 
a  compass  of  36  keys  with  semitones,  and 
could  be  played  with  ease. 


Fairlamb,  J-  Remington,  was  born  Jan. 
23,  1839,  at  Philadelphia,  Pa.  His  earliesl 
musical  instruction  was  received  from  his 
mother,  hut  subsequently  he  studied  with 
Charles  Boyer,  organist  of  St.  Stephen's  church. 
A  quantity  of  Spohr's  music  happened  to  fall 
into  his  hands,  including  the  mass  in  C  minor, 
'«  The  Last  Judgment,"  and  selections  from  the 
operas  of  "  Faust  "  and  "  Jessonda,"  and  in 
this  he  became  greatly  interested,  studying  it 
assiduously.  His  thirst  for  musical  knowledge 
became  so  great  that  he  eagerly  devoured  every 
work  on  harmony,  composition,  or  theory, 
which  he  could  obtain.  When  sixteen  years 
of  age  he  gave  to  the  public  his  first  composi- 
tion, and  about  the  same  time  became  organist 
of  a  Methodist  Episcopal  Church  in  the  city, 
performing  the  duties  solely  for  practice  and 
receiving  no  remuneration.  A  year  later  he 
accepted  a  similar  position  at  the  Tabernacle 
Baptist  Church,  which  he  held  for  three  years, 
and  then  transferred  his  services  to  the  Clinton 
Street  Presbyterian  Church.  In  1S59,  being 
then  not  quite  twenty-one  years  of  age,  he  de- 
parted for  Europe.  His  first  destination  was 
Paris,  where  he  studied  the  piano  under  Pru- 
dent and  Marmontel  and  the  voice  under 
M.  Masset  and  Mme.  Bockholtz-Falconi. 
From  Paris  he  proceeded  to  Florence  and 
there  continued  his  vocal  studies  with  Mabel- 
lini.  Shortly  after  the  beginning  of  the  Civil 
War  he  returned  home,  but  not  finding  things 
to  his  taste  he  resolved  on  a  second  visit  to 
Europe.  He  sought  and  obtained  the  post  of 
United  States  consul  at  Zurich,  Switzerland. 
During  his  residence  there  he  became  ac- 
quainted with  many  prominent  German  musi- 
cians, among  whom  were  Dr.  A.  B.  Marx, 
Moscheles,  Kullak,  Dr.  Kocher,  and  J.  J. 
Abert.  He  composed  and  dedicated  to  King 
Karl  of  Wurtenburg  a  Te  Deura  for  double 
chorus,  orchestra,  and  organ,  which  was  ac- 
cepted, and  in  consequence  he  had  the  gold 
medal  of  art  and  science  ("Die  grosse  goldene 
Medaille  fur  Kunst  und  Wissenschaft")  be- 
stowed upon  him.     While  residing  at  Zurich 


he  also  commenced  work  upon  a  grand  opera, 
the  libretto  being  German. 

In  1865  he  returned  to  the  United  States 
and  temporarily  located  at  Washington,  where 
he  was  director  of  music  at  Epiphany  Church. 
The  following  year  he  married  and  settled  in 
Philadelphia,  and  resumed  work  on  his  opera, 
translating  the  libretto  into  English.  The 
work  was  too  large  to  gain  a  production,  and 
in  consequence  he  wrote  a  smaller  work, 
"Treasured  Tokens"  (2  acts),  which  was  pro- 
duced at  the  Chestnut  Street  Theatre.  In 
1870  he  removed  to  Washington,  where  for 
two  years  he  was  director  of  music  at  St. 
John's  Episcopal  Church.  At  the  end  of  that 
time  he  accepted  a  call  to  the  Assembly  Pres- 
byterian Church,  a  position  which  he  was 
still  holding  in  188 1.  As  a  teacher  he  is 
highly  esteemed  and  is  very  successful.  His 
works  consist  of  several  Te  Deums,  a  jubilate 
in  C,  numerous  anthems  for  various  occasions, 
and  other  church  pieces,  which  are  much 
sung  throughout  the  country  ;  his  two  operas, 
which  have  already  been  mentioned  ;  and 
about  sixty  other  compositions  of  various 
kinds,  all  of  which  are  of  high  order. 

Federal  Harmony.    A  collection  of 

sacred  music,  edited  by  Simeon  Jocelyn  of 
New  Haven,  Conn.,  and  published  at  Boston, 
Mass.,  in  1793.  A  similar  collection  was 
made  and  issued  by  Timothy  Swan  in  1788. 

Fillmore,  John  C,  pianist,  teacher,  and 
critic,  was  bom  Feb.  4,  1S43,  m  Connecticut. 
He  studied  at  Oberlin,  and  subsequently  at 
Leipsic.  For  nine  years  he  was  professor  of 
music  at  Ripon  College,  Wis.,  but  now  resides 
at  Milwaukee  in  the  same  state,  and  is  director 
of  the  Milwaukee  School  of  Music.  He  is 
highly  esteemed  as  a  teacher  and  critic. 

Fischer,  J.  &  C  This  well-known 
piano  manufacturing  firm,  located  in  New  York 
City,  was  established  in  1S40,  by  John  W.  and 
Charles  S.  Fischer.  They  learned  the  art  of 
piano  making  from  their  father  and  their 
grandfather,  Sig.  Bernardo  Fischer,  who  es- 
tablished himself  in  business  in  Naples,  about 


HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


57 


the  beginning  of  the  present  century.  Previous 
to  coming  to  America,  they  traveled  all  over 
Europe,  visiting  and  working  in  the  principal 
manufactories  of  that  country,  thus  gaining  a 
ripeness  of  knowledge  and  experience  not 
otherwise  attainable.  Their  wanderings  termi- 
nated in  New  York,  where  they  arrived  in  1839* 
John  at  that  time  being  23  and  Charles  21  years 
of  age.  Nunses  &  Clark,  piano  makers,  dissolv- 
ing business  relations  in  that  year,  they  entered 
into  partnership  with  Wm.  Nunses  under  the 
firm  name  of  Nunses  &  Fischer.  After  a  few 
years  Nunses  was  bought  out  and  retired,  the 
two  brothers  conducting  business  under  the 
present  firm  name,  J.  &  C.  Fischer.  In  1873, 
John  Fischer  withdrew  from  the  firm  and  re- 
turned to  the  ancestral  estates  at  Naples,  where 
he  still  lives.  Charles  S.  Fischer,  Jr.,  who  is 
well  known  in  New  York  as  organist  of  some 
of  the  leading  churches  and  an  able  musician, 
was  until  quite  recently  a  member  of  the  firm, 
but  withdrew  to  enter  the  medical  profession. 
The  present  firm  is  composed  of  Charles  S. 
Fischer,  Sr.,  Henry  B.  Fischer,  Bernardo  F. 
Fischer,  Adolfo  H.  Fischer,  and  Frederick  G. 
Fischer,  though  the  old  firm  name  is  retained. 
Each  member  has  a  special  department  which 
he  oversees,  and  hence  the  work  is  system- 
atically and  thoroughly  carried  on. 

The  Fischer  pianos  are  well  known  and  es- 
teemed, as  is  evidenced  by  the  annual  sale  of 
over  5000,  and  very  justly  ranks  the  firm 
among  the  leading  piano  manufacturing  con- 
cerns of  this  country. 

Fisk  Jubilee  Singers.    This  troupe, 

so  well  known  all  over  the  country,  was  or- 
ganized in  October,  1 871,  by  George  L.  White, 
treasurer  of  Fisk  University,  Nashville,  Tenn., 
from  among  the  students.  Seven  of  the  com- 
pany had  been  in  slavery,  and  all  of  them 
were  colored.  The  original  members  were  as 
follows:  Ella  Sheppard,  pianist  and  soprano; 
Jennie  Jackson,  soprano ;  Maggie  Porter, 
soprano;  Minnie  Tate,  contralto;  Eliza 
Walker,  contralto ;  -Thomas  Rutling,  tenor  ; 
B.  M.  Holmes,  tenor ;  I.  P.  Dickerson, 
bass ;  and  Greene  Evans,  bass.  Their 
object  was  to  raise  money  sufficient  to 
meet  a  financial  crisis  of  the  University. 
They  had  no  definite  plan  of  action,  and  the 
experiment  of  singing  genuine  negro  songs  be- 
fore cultured  northern  audiences  was  a  new 
one.     It  proved  a  great  success,  however,  and 


the  songs,  which  rapidly  became  very  popu- 
lar, were  embodied  in  book  form.  So  suc- 
cessful was  the  company  that  they  soon  raised 
£20,000  for  their  college  home,  and  then 
3 100,000  for  an  endowment.  Other  large 
sums  of  money  have  been  earned  and  received 
by  them,  which  ha,ve  gone  to  help  the  Uni- 
versity. They  have  twice  visited  Europe  and 
sung  before  the  most  cultured  audiences  with 
great  and  uniform  success.  Up  to  1881, 
twenty-four  different  persons  had  been  mem- 
bers of  the  company,  twenty  of  whom  had 
been  in  slavery.  Their  aims  have  always 
been  pure  and  noble,  and  the  good  they  have 
done   for  their  race  can   hardly   be   estimated. 

Flower  Queen,  The.  A  secular  can- 
tata, produced  in  New  York  City,  in  1852. 
The  words  are  by  Fanny  J.  Crosby;  the  mu- 
sic by  Dr.  George  F.  Root.  It  has  met  with 
considerable  success. 

Folio,  The.  A  monthly  publication  is- 
sued by  White,  Smith  &  Co.,  Boston,  and 
devoted  to  music,  drama  and  art.  Each  num- 
ber contains  16  pages  of  vocal  and  instrumen- 
tal music.  Earl  Marble  is  at  present  (  Janu- 
ary, 1886)  editor.  Subscription  price  £1.60 
per  annum.  Circulation  about  15,000.  Es- 
tablished in  1869. 

Formes,  Karl,  bass  singer,  son  of  the 
sexton  at  Miihlheim  on  the  Rhine,  born  Aug. 
7,  1810.  What  musical  instruction  he  had  he 
seems  to  have  obtained  in  the  church  choir;  but 
he  first  attracted  attention  at  the  concerts  for 
the  benefit  of  the  cathedral  fund  at  Cologne  in 
1841.  So  obvious  was  his  talent  that  he  was 
urged  to  go  on  the  stage  and  made  his  dibut  at 
Cologne  as  Sarastro  in  "  Zauberflote,"  Jan. 
6,  1842,  with  the  most  marked  success,  ending 
in  an  engagement  for  three  years.  His  next 
appearance  was  at  Vienna.  In  1849  he  came 
to  London,  and  sang  first  at  Drury  Lane  in  a 
German  company  as  Sarastro  on  May  30.  He 
made  his  appearance  on  the  Italian  stage  at 
Covent  Garden,  March  16,  1850,  as  Caspar  in 
"  II  Franco  Arciero"  ("  Der  Freischutz  "). 
At  the  Philharmonic  he  sang  first  on  the  fol- 
lowing Monday,  March  18.  From  that  time 
for  some  years  he  was  a  regular  visitor  to 
London,  and  filled  the  parts  of  Bertram,  Mar- 
cel, Rocco,   Leporello,  Beltramo,  etc. — Grove. 

In  1857  Formes  came  to  this  country,  and 
made  his  first  appearance  here  at  the  New 
York    Academy  of    Music,    Dec.   2d.     Since 


58 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


that  time  he  has  led  a  rather  irregular  and 
wandering  life,  going  wherever  fancy  pro- 
pelled him.  His  voice  is  one  of  the  most 
magnificent  ones  ever  possessed  by  any  man, 
excelling  in  volume,  compass,  and  quality. 
He  is  fine  appearing  and  has  a  decided  talent 
for  the  stage.  With  industry  he  might  have 
attained  a  position  equaled  by  few.  He  is 
now  (March,  t886)  located  at  San  Francisco 
as  a  teacher  of  singing. 

Forty-sixth    Psalm,    i.— For  solos, 

chorus,  and  orchestra,  by  Dudley  Buck. 
First  performed  by  the  Handel  and  Haydn 
Society  of  Boston,  May  7,  1874. 

2. — Also  for  solos,  chorus,  and  orchestra, 
by  William  W.  Gilchrist.  The  prize  composi- 
tion for  the  Cincinnati  May  Festival  of  1S82, 
where  it  was  first  performed.  See  Gilchrist, 
William  W. 

Foster,  Stephen  Collins,  one  of  Ameri- 
ca's most  noted  song  writers,  was  born  July  4, 
1826,  at  Lawrenceburg,  Pa.,  now  a  part  of  the 
city  of  Pittsburgh.  His  father  came  from  Vir- 
ginia, was  one  of  the  earliest  settlers  of  Western 
Pennsylvania,  a  prosperous  merchant,  and  at 
one  time  mayor  of  Pittsburgh.  Young  Foster 
began  his  studies  at  an  academy  in  Alleghany, 
Pa.,  entered  a  school  at  Athens  in  1839,  and 
in  1841  the  Jefferson  College  at  Cannonsburgh, 
where  he  finished  his  education.  After  this 
he  was  for  some  time  book-keeper  for  his 
brother  at  Cincinnati,  Ohio,  spending  his  leisure 
moments  in  learning  German,  French,  drawing, 
and  painting. 

His  musical  tastes  early  made  themselves 
known.  When  seven  years  old  he  learned  to 
play  the  flageolet,  also  the  flute  and  the  piano, 
though  having  no  teacher.  He  had  a  good 
but  rather  weak  voice,  rarely  ever  using  it, 
however.  His  first  composition  was  a  waltz 
arranged  for  three  performers,  composed  while 
attending  school  at  Athens  and  performed  at 
one  of  the  commencements  there,  which  he 
called  "  Tioga  Waltz."  It  was  well  received, 
and  served  to  stimulate  the  young  composer  to 
other  efforts.  He  soon  began  to  try  his  hand 
at  song  writing,  in  which  he  afterwards  became 
so  proficient.  Becoming  acquainted  with 
Henry  Kleber,  a  musician  of  his  native  city, 
he  formed  an  intimate  friendship  with  that 
gentleman  and  joined  his  vocal  society. 
Many  of  his  compositions  were  submitted  to 
Kleber   for    criticism,  for  whose  opinions  he 


entertained  a  high  regard.  Some  time  after 
this  a  minstrel  troupe  visited  Pittsburgh,  and 
happening  to  be  present  at  one  of  their  per- 
formances, he  sought  to  have  them  take  and 
introduce  one  of  his  songs.  "Oh,  Susanna" 
was  accepted  and  sung  with  success.  It  was 
afterwards  published  by  Peters  of  Cincinnati, 
the  author  receiving  as  his  remuneration 
twenty-five  copies. 

Seeing  his  musical  talents,  he  was  advised 
by  friends  to  go  through  a  regular  course  of 
study  in  music,  but  he  declined  on  the  ground 
that  it  might  injure  his  own  originality  and 
freshness,  an  error  which  young  minds  are 
sometimes  liable  to  fall  into.  Later  in  life  he 
learned  to  regret  this  decision,  and  became 
acquainted  with  and  appreciated  to  a  certain 
extent  the  works  of  some  of  the  masters.  The 
theme  and  inspiration  of  many  of  his  songs 
may  be  explained  by  the  fact  that  whenever 
opportunity  offered  he  visited  religious  camp- 
meetings,  especially  those  held  by  the  negroes, 
listening  to  the  music  and  ready  to  grasp  any 
stray  thought  which  might  come  along. 
"  Hard  times  come  again  no  more  "  was  thus 
originated,  and  became  exceedingly  popular 
with  the  slaves. 

In  1854  Foster  married  Miss  Jennie 
McDowell,  daughter  of  Dr.  A.  N.  McDowell,  a 
physician  of  Pittsburgh.  To  her  many  of  his 
songs  were  addressed.  The  marriage  promised 
to  be  a  happy  one,  but  all  these  promises  were 
broken  by  the  dissipated  habits  into  which  he 
fell.  In  i860  he  left  his  family  and  went  to 
New  York  City.  For  some  time  he  made  his 
headquarters  at  an  old  grocery  on  the  corner  of 
Christie  and  Hester  streets,  in  the  neighbor- 
hood of  the  Bowery.  His  personal  appear- 
ance and  surroundings  are  thus  described  by 
a  well-known  musical  writer  : 

"  A  figure  slight  and  a  little  below  medium 
stature,  attired  in  a  well-worn  suit;  his  face 
was  long  and  closely  shaven ;  soft  brown  eyes 
and  somewhat  shaded  by  a  lofty  forehead, 
which  was  disfigured  by  the  ]i>eak  of  a  glazed 
cap  that  hung  closely  to  his  head,  scarcely 
allowing  his  short  brown  hair  to  be  seen. 
His  appearance  was  at  once  so  youthful  and  so 
aged  that  it  was  difficult  to  tell  at  a  casual 
glance  if  he  were  25  or  50.  An  anxious 
startled  expression  hovered  over  a  face  that 
was  painful  to  witness.  Looking  at  him  thus, 
it  was  hard  for  me  to  believe  that  standing  be-- 


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59 


fore  me  was  the  then  most  popular  song 
writer  in  the  country;  but  it  was  Foster  in- 
deed !  He  seemed  as  embarrassed  as  a  girl  in 
the  presence  of  a  stranger,  and  this  diffidence 
never  wore  off.  Whether  it  was  a  natural 
bashfulness  or  a  voluntary  reserve  I  cannot 
say ;  but  even  with  those  who  knew  him  most 
intimately  he  was  never  familiar.  His  con- 
versation, made  up  mostly  of  musical  reminis- 
cences, was  always  interesting.  He  lodged 
generally  at  a  small  hotel  in  the  Bowery,  but 
that  small  grocery  he  made  his  usual  sitting 
room,  and  many  an  exquisite  melody  had  its 
birth  in  that  uncongenial  place.  A  friend  of 
mine,  who  knew  Foster,  said  to  me  that  many 
of  the  now  popular  melodies  were  first  written 
upon  the  common  kind  of  brown  paper  used  to 
wrap  up  bundles." 

Such  a  state  of  existence  must  have  been  a 
monotonous  one  and  little  fitted  for  musical 
inspiration.  But  the  end  was  near.  While 
staying  at  the  American  Hotel  he  was  attacked 
by  the  fever  and  ague,  of  which,  however, 
nothing  much  was  thought.  One  morning 
while  dressing  himself  he  fainted  and  fell, 
cutting  himself  severely  on  a  broken  piece  of 
crockery.  After  this  he  conversed  but  very 
little,  though  conscious.  He  was  taken  to 
Bellevue  Hospital,  where  he  remained  until 
his  death,  Jan.  13,  1864.  His  last  words  were  : 
"Oh,  wait  till  to-morrow,"  in  response  to 
some  question  of  an  attendant  who  had  come 
to  dress  his  wounds.  The  remains  were  con- 
veyed to  Pittsburgh  and  interred  there. 

Foster  occupies  a  distinctive  place  among 
our  song  writers.  His  songs  are  unlike  any- 
thing before  or  since  produced,  in  some 
respects,  having  a  nature  of  their  own ;  and 
though  not  scientifically  written,  they  have  a 
peculiar  charm  and  appeal  directly  to  the 
popular  heart.  To  enumerate  all  of  his  songs 
would  be  useless,  as  they  are  more  or  less 
familiar  in  every  musical  household.  The 
first  one  which  he  published  was  "  Open  the 
Lattice,  Love,"  issued  by  Willig  of  Baltimore, 
in  1842.  For  some  time  he  wrote  gratuitously, 
but  latterly  he  received  royalty  amounting  to 
thousands  of  dollars.  The  "  Old  Folks  at 
Home,"  (See  that  heading),  perhaps  his 
most  popular  production,  he  hoped  would  rival 
"  Home,  Sweet  Home."  It  has  sold  to  the 
extent  of  500,000  copies.  "  My  Old  Kentucky 
Home"    was    almost    equally    successful.      It 


was  placed  in  Bryant's  "Library  of  Poetry 
and  Song,"  but  no  credit  given  the  author. 
Among  his  other  most  popular  songs  are 
"  Marsa's  in  de  Cold,  Cold,  Ground,"  "Old 
Dog  Tray,"  "  Willie,  We  Have  Missed  You," 
"  Ellen  Bayne,"  and  "  Come  Where  My  Love 
Lies  Dreaming."  To  the  most  of  his  songs  he 
wrote  the  poetry  as  well  as  the  music.  Had 
he  improved  his  talents  by  study  and  been  free 
from  the  vice  of  intemperance,  he  would  un- 
doubtedly have  produced  songs  equal  in  every 
respect  to  any  in  the  world.  But  this  was  not 
his  aim.  As  far  as  his  aspirations  carried  him 
he  left  nothing  to  be  desired. 


Under  the  heading  of  Old  Folks  at 
Home,  some  idea  of  how  Foster  was  taken 
advantage  of,  during  his  residence  in  New 
York,  is  given.  It  is  a  fact  not  very  generally 
known  that  though  his  songs  were  extraordi- 
narily popular  and  brought  large  profits,  he 
was  uniformly  compelled  by  the  music  pub- 
lishers to  accept  next  to  nothing  for  them. 
With  a  bundle  of  manuscripts  he  would  go 
from  one  to  another,  offering  them  at  $50  each, 
which  was  indeed  a  paltry  sum,  but  the  crafty 
publishers  well  knew  his  destitute  condition, 
and  would  actually  starve  him  into  accepting 
their  price.  To  add  to  his  misfortunes  there 
were  a  number  of  so-called  friends  who  were 
always  ready  to  take  advantage  of  his  frank, 
generous  nature.  When  his  remains  were 
removed  from  New  York  to  Pittsburgh,  they 
were  transported  free  by  the  Pennsylvania 
Railroad  Co.  They  now  repose  in  the  Alle- 
gheny Cemetery,  and  the  place  is  marked  by 
a  plain  marble  slab,  bearing  this  simple 
inscription  : 

Stephen  C.  Foster 

of  Pittsburgh, 

Born  July  4,  1826  ; 

Died  in  New  York, 

January  13,  1S64. 

The  more  we  study  the  nature  of  Foster  the 
more  we  shall  be  drawn  towards  him.  Few 
musicians  have  been  gifted  with  so  fine  and 
sensitive  a  nature,  but  the  very  qualities  which 
we  most  admire  in  him  made  him  also  an 
easy  prey  to  habit  and  false  friends.  We  have 
evidence  that  during  the  terrible  struggle  his 
soul  kept  its  innate  purity.  If  we  will  but 
remember  our  own  faults  and  the  weakness  of 
human  nature,  we  can  easily  forgive  and 
overlook  his  one  great  failing. 


6o 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


Franklin,  Benjamin,  the  eminent  Ameri- 
can philosopher  and  statesman,  was  born  in 
1706  at  Boston.  His  only  claim  to  notice  in  a 
work  like  this  is  as  having  been  the  inventor 
of  the  harmonica  (See  Harmonica.)  He 
had  considerable  musical  faculty,  as  is  evi- 
denced by  his  letters  on  Scotch  music  and  the 
defects  of  modern  music.  He  died  at 
Philadelphia,  in  1790. 

Franoscll,  Adolph,  was  born  in  1830,  at 
Cologne,  and  after  serving  in  the  German 
army  was  given  a  position  in  the  custom  house 
at  his  native  place.  His  fine  bass  voice  at- 
tracted attention,  and  through  the  assistance  of 
an  operatic  manager  he  made  his  appearance 
on  the  stage.  He  then  sang  with  success  in 
Germany  and  Russia.  In  1870  he  came  to 
this  country  with  the  Lichtmay  company, 
and  for  several  seasons  thereafter  sang  at  the 
Stadt  Theatre  in  the  Bowery,  New  York. 
For  some  time  he  was  manager  of  the  Ger- 
man opera  troupe,  and  gave  performances  in 
St.  Louis,  Cincinnati,  Louisville  and  other 
places.  He  was  then  engaged  for  the  Ger- 
mania  Theatre  by  A.  Neuendorff,  and  was 
the  original  Gen.  Kautschukoff  in  "Fatinitza." 
He  died  Aug.  4,  1S80,  at  New  York. 

Fries,  Wulf,  violoncellist,  was  born  at 
Garbeck,  a  village  of  Holstein,  Germany,  Jan. 
10,  1825.  He  began  playing  his  favorite 
instrument  when  only  nine  years  old,  and  at 
twelve  had  his  first  and  only  lessons  from  a 
local  player.  At  the  age  of  thirteen  he  made 
his  djb?rt,  though  compelled  to  perform  his  solo 
on  a  very  poor  instrument.  His  father,  being 
poor  and  unable  to  furnish  him  means  for  a 
first-class  musical  education,  sent  him  to  Ploen, 
a  small  city  of  Holstein,  where  he  played 
under  the  direction  of  the  "  Staclt  Musikus," 
but  received  no  regular  instruction.  What  he 
learned  in  the  art  of  playing  was  chiefly 
through  hearing  the  soloists  who  gave  con- 
certs while  passing  through  the  city.  He  re- 
ceived some  lessons  on  the  trombone  from  a 
fine  trombonist,  and  was  soon  able  to  play 
solos  on  that  instrument  with  good  effect,  but 
he  afterwards  gave  it  up  and  devoted  himself 
exclusively  to  the  violoncello.  In  September, 
1847,  he  came  to  America  and  settled  in  Bos- 


ton, which  has  since  been  and  still  is  (May, 
1885)  his  home.  About  1849  he  organized, 
assisted  by  his  brother,  August,  three  years 
his  senior,  the  "Mendelssohn  Quintet  Club," 
the  immediate  occasion  of  which  was  the 
performance  at  a  private  house  of  Mendels- 
sohn's Quintet  in  A.  The  original  members 
of  the  Club,  with  which  he  was  connected 
for  twenty-three  years,  were  August  Fries, 
1st  violin;  Herr  Gerloff,  2d  violin  ;  Theodor 
Lehman,  1st  viola  ;  Oscar  Greiner,  2d  viola  ; 
and  Wulf  Fries,  'cello.  August  Fries  was  the 
leader  for  ten  years,  when  his  place  was  taken 
by  William  Schultze.  Mr.  Fries  (Wulf)  is 
now  violoncellist  of  the  "  Beethoven  Quartet 
Club."  He  is  also  professor  of  the  violoncello 
at  the  Boston  and  New  England  conservatories 
of  music,  and  an  esteemed  musician. 

Fry,  William  Henry,  an  American  com- 
poser, was  born  at  Philadelphia,  Pa.,  August 
10,  1815  (1813  ?  ).  In  1849  he  went  to  Paris 
for  the  purpose  of  collecting  musical  speci- 
mens, acting  meanwhile  as  correspondent 
for  several  papers.  He  returned  in  1854  and 
became  musical  critic  of  the  New  York 
Tribune.  In  1S55  he  undertook  in  a  series  of 
papers  to  prove  that  Italian  music  is  superioi 
to  any  other,  but  only  succeeded  in  bringing 
abuse  upon  himself.  He  also  delivered  a 
course  of  lectures  upon  music,  and  illustrated 
them  by  practical  performances.  The  chorus 
consisted  of  100  singers,  the  orchestra  of  80 
performers,  and  the  military  band  of  50  per- 
formers, besides  which  there  were  several 
Italian  solo  vocalists.  The  venture,  however, 
did  not  pay,  and  resulted  in  a  loss  of  several 
thousand  dollars.  Mr.  Fry's  principal  works 
are  a  set  of  symphonies,' performed  by  Jullien's 
orchestra  when  in  New  York;  several  can- 
tatas, some  songs,  a  Stabat  Mater,  eleven  violin 
quartets,  and  two  operas,  "  Leonora,"  first 
performed  at  the  Academy  of  Music,  New 
York,  March  29,  1858,  and  "  Notre  Dame  de 
Paris,"  first  performed  at  the  Academy  of 
Music,  Philadelphia,  in  April,  1864,  both  of 
which  were  well  received.  He  died  at  Santa 
Cruz,  Dec.  21,  1864.  He  was  one  of  our  most 
talented  native-born  musicians,  and  had  his 
abilities  been  rightly  directed  would  have  won 
a  world-wide  reputation. 


G. 


Gemuender,  George,  whose  fame  as 
a  violin  maker  is  world-wide,  was  born  April 
13,  1816,  at  Ingelfingen,  Wurtemburg.  He 
learned  the  principles  of  his  trade  from  his 
father,  who  was  a  manufacturer  of  bow  instru- 
ments. His  father  thought,  however,  to  make 
a  schoolmaster  of  him,  and  for  that  purpose 
sent  him  to  the  seminary.  He  remained  there 
only  three  weeks  and  was  back  again  to  his 
trade,  and  the  business  for  which  nature  had 
fitted  him.  His  father  dying  in  1835,  when  he 
was  in  his  nineteenth  year,  he  traveled,  work- 
ing at  Pesth,  Presburg,  Vienna,  Munich,  and 
other  places,  and  meeting  with  success. 
Finding  no  suitable  place  to  establish  himself 
in  business,  he  through  the  kindness  of  a  friend 
made  an  engagement  with  a  musical  instru- 
ment maker  in  Strasburg,  but  on  arriving  there 
found  that  the  man  manufactured  only  brass  in- 
struments. Disappointed,  he  was  invited  by  the 
manufacturer,  whose  name  was  Roth,  to  make 
his  house  his  hovne  until  he  found  em- 
ployment. There  he  remained  several  weeks, 
andduringthe  time  formed  the  acquaintance  of 
a  gentleman  who  wrote  for  him  a  letter  of  in- 
troduction and  sent  it  to  Vuillaume,  the  cel- 
ebrated violin  maker  of  Paris.  Receiving  an 
invitation  from  Vuillaume  he  at  once  repaired 
to  Paris.  His  wages  at  first  were  30  sous  per 
day,  but  at  the  end  of  three  months  they  were 
increased  to  40  sous.  While  at  Vuillaume's  he 
studied  and  worked  industriously,  and  became 
acquainted  with  the  peculiarities  of  the  best 
violins.  On  returning  from  this  country  to 
Paris,  in  1S45,  CHe  Bull  took  his  wonderful 
violin,  "  Caspar  da  Salo,"  to  Vuillaume  for 
repairs.  The  latter  intrusted  it  to  Gemunder, 
who  made  the  repairs  in  such  a  satisfactory 
manner  that  Ole  Bull  sought  an  introduction 
to  him. 

In  1847,  after  having  been  four  years  at 
Vuillaume's,  Gemunder  received  an  invitation 
from  his  two  brothers  in  this  country  to  join 
them.  Accordingly  he  left  Paris  and  arrived 
at  Springfield,  Mass.,  in  November  of  that 
year.  In  company  with  his  brothers  and 
other  musicians   he   gave   concerts,  but  these 


proving  unsuccessful  he  borrowed  twenty-five 
dollars  from  a  friend  and  began  to  manufacture 
and  repair  violins  at  Boston.  He  determined 
to  submit  some  of  his  instruments  for  inspec- 
tion at  the  London  exhibition  of  185 1,  and 
sent  a  quartet  of  bow  instruments  in  imitation 
of  Stradivarius,  a  violin  of  the  Joseph  Guar- 
nerius  pattern,  and  one  of  the  Nicolas  Amati 
pattern.  Not  meeting  with  sufficient  encour- 
agement in  Boston  he  removed  to  New  York 
in  1 85 1,  and  later  learned  that  his  instruments 
had  received  the  first  prize  at  the  exhibition, 
where  they  were  examined  by  Spohr,  Thal- 
berg,  Vieuxtemps,  and  other  eminent  author- 
ities. Later,  his  instruments  were  similarly 
successful  at  exhibitions  in  Paris  and  Vienna. 
To  the  Vienna  exhibition  of  1873  he  sent  only 
one  violin,  and  that  in  competition  for  a  prize 
offered-  for  the  best  imitation.  The  violin 
was  called  "Kaiser"  (Emperor),  built  after 
the  pattern  of  Guarnerius,  and  so  deceived 
the  judges  as  to  be  declared  genuine  by  them. 
The  instrument  was  a  center  of  attraction  to 
all  musicians,  and  received  the  highest  com- 
mendations, but  few  were  willing  to  admit  that 
it  was  newly  made. 

The  success  of  Mr.  Gemunder  has  led  many 
persons  to  claim  that  the  wood  of  his  violins 
is  chemically  prepared.  It  is  well  known 
that  the  tone  of  such  instruments  deteriorates 
after  awhile,  but  this  has  not  been  the  case 
with  those  made  by  him.  He  has  also  offered 
to  submit  any  of  his  instruments  to  be  test- 
ed, provided  upon  failure  to  find  any  chemicals 
the  price  of  the  instrument  be  paid  him  by  the 
parties  making  the  test.  Mr.  Gemunder  cer- 
tainly claims  more  than  any  other  violin 
maker  has  yet  dared  to  claim,  viz.:  To  equal, 
and  in  some  respects  excel,  the  instruments 
made  by  the  old  Italian  masters.  He  has 
repeatedly  deceived  the  best  judges,  and  the 
tone  of  his  violins  has  been  acknowledged 
equal  if  not  superior  to  that  of  the  best  Italian 
instruments.  The  prejudice  against  a  new 
instrument  and  the  belief  that  the  work  of 
two  or  three  centuries  ago  can  not  now  be 
equaled   are   so   firmly   fixed   in  the  minds  of 


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HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


most  people,  that  rather  than  admit  Mr. 
Gemunder's  claims  they  accuse  him  of  chemi- 
cally preparing  the  wood  which  he  uses. 
There  is  no  reason  why  it  should  be  thought 
impossible  to  ecmal  past  achievements,  though 
the  attempt  has  often  been  made  and  resulted 
in  failure.  Perhaps  a  hundred  years  from  now 
Mr.  Gemunder's  instruments  will  be  considered 
"  classical,"  and  accorded  their  true  worth. 
Mr.  Gemiinder  resides  at  Astoria,  Long 
Island,  and  though  at  quite  an  advanced  age 
still  continues  the  manufacture  of  his  instru- 
ments. 

G-ermania  Orchestra.    A  band  of 

twenty-four  musicians,  which  originally  came 
from  Germany.  The  unsettled  state  of  affairs 
in  Europe  in  1847  made  the  members  resolve 
to  seek  new  tields  of  music.  After  obtaining 
letters  of  introduction  from  the  English  and 
American  embassadors  at  Berlin,  they  pro- 
ceeded to  England,  but  met  with  a  poor  re- 
ception. Leaving  England  they  sailed  for  the 
United  States,  arriving  at  New  York,  Sept. 
28,  1848.  They  gave  their  first  concert  at 
the  Astor-place  opera  house,  on  October  5th. 
At  that  time  the  musical  tastes  and  culture  of 
the  country  were  of  far  lower  order  than  now, 
and  the  concerts  which  they  gave  failed  to  pay 
expenses,  though  considered  from  an  artistic 
standpoint  they  were  successful.  From  New 
York  the  members  proceeded  to  Philadelphia, 
where  they  gave  their  first  concert  Dec.  4, 
but  met  with  no  better  success.  After  a  des- 
perate struggle  they  temporarily  disbanded. 
Soon  after,  however,  they  were  again  called 
together  to  play  at  the  presidential  inaugura- 
tion ball  at  Washington.  They  then  went  to 
Baltimore,  where  they  first  met  with  the  suc- 
cess they  deserved,  though  Gung'l  was  at  that 
time  occupying  the  city.  Leaving  Baltimore 
they  proceeded  to  Boston,  giving  concerts  at 
New  Haven,  Worcester,  and  other  large 
towns  on  the  way.  At  Boston  they  gave  their 
first  concert  in  Melodeon  Hall,  April  14,  1849, 
but  met  with  little  encouragement  at  first, 
though  afterwards  well  patronized.  They 
played  at  the  Castle  Garden  concerts,  New 
York,  and  in  the  summer  at  Newport,  then 
beginning  to  come  into  prominence  as  a 
fashionable  resort.  During  the  winter  of 
1849-50  they  were  in  Baltimore,  and  the  ensu- 
ing summer  undertook  a  tour  of  the  United 
States   and  Canada,  which  proved  successful. 


The  next  winter  they  were  again  in  Baltimore, 
made  a  Southern  trip  under  the  management 
of  Strakosch,  with  Patti  as  soloist,  gave  thirty 
concerts  with  Jenny  Lind,  and  in  the  summer 
played  for  the  second  time  at  Newport.  The 
season  of  1851-52  was  spent  in  Boston  and  in 
making  a  tour  with  Ole  Bull.  During  the 
next  season  they  again  gave  concerts  in  Bos- 
ton with  Jaell,  Camilla  Urso,  and  other  ar- 
tists, and  also  in  Philadelphia  with  Mme. 
Sontag.  The  summer  of  1853  was  spent  in 
traveling  throughout  the  West  and  other  por- 
tions of  the  country.  In  1853  54  they  were 
in  Boston  for  the  third  time,  but  did  not  meet 
with  their  previous  success.  The  orchestra 
had  previously  been  increased  to  thirty  mem- 
bers, but  only  fourteen  of  the  original  ones 
remained.  The  engagement  with  P.  T.  Bar- 
num  that  followed  was  a  failure,  and  a  grow- 
ing dissatisfaction  led  to  the  dissolution  of  the 
Orchestra,  September  13,  1854.  Of  its  mem- 
bers a  few  have  become  well  known,  chief  of 
whom  is  Carl  Zerrahn.  The  leaders  were 
Leuschow,  Schultze,  and  Carl  Bergmann. 
During  its  existence  the  orchestra  was  prob- 
ably one  of  the  most  potent  factors  in  advanc- 
ing the  musical  tastes  of  this  country. 

There  is  in  Boston  an  organization  called 
"The  GermaniaBand,"  originated  about  1S50, 
the  original  six  members  of  which  came  from 
Saxony.  Among  them  were  Carl  Eichler,  the 
present  leader,  and  Wulf  Fries,  the  well- 
known  violoncellist.  It  was  soon  turned  into 
a  serenade  band,  and  has  gradually  grown  to 
its  present  dimensions,  including  some  fine 
artists.  The  "Germania  Quartet"  consists  of 
four  brass  instruments  from  the  "Band,"  with 
Rose  Stewart  as  vocalist. 

Grille,  William  T.,  was  born  June  28, 
1848,  at  Portland,  Ind.  He  is  the  author  of 
several  popular  collections  of  music,  among 
which  are  the  "  Western  Anthem  Book," 
"  Song  Clarion,"  "  New  Favorite,"  "Giffe's 
Male  Quartet  Bock,"  "Helping  Hand," 
"Brilliant,"  etc.  He  is  also  a  good  chorus 
and  convention  conductor.  At  present  ( 1884) 
he  is  teacher  and  superintendent  of  music  in 
the  public  schools  of  Logansport,  Ind. 

Gilchrist,  William  Wallace,  who  has 
lately  become  noted  as  a  composer,  was  born 
in  1846,  at  Jersey  City,  N.  J.  When  he  was 
nine  years  of  age  his  parents  removed  to 
Philadelphia,     where    he    studied    for    three 


HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


<>3 


years  under  H.  A.  Clarke,  professor  of  music  ' 
in  the  University  of  Pennsylvania.  In  1S72  ; 
he  went  to  Cincinnati,  where  he  became  or-  j 
ganist  at  the  New  Jerusalem  Church  and  I 
teacher  in  the  conservatory  of  Miss  Bauer. 
In  1873,  however,  he  returned  to  Philadelphia, 
and  has  since  been  located  there,  being  at  the 
present  conductor  of  four  musical  societies 
and  organist  at  Christ's  Church,  Germantown. 
He  has  gained  several  prizes  from  the  Abt 
Society  of  Philadelphia  for  his  compositions, 
and  three  prizes  from  the  Mendelssohn  Club, 
New  York.  In  1880  he  contended  for  the 
Cincinnati  May  Festival  prize,  but  was  ranked 
as  third.  This  year  (1S82)  he  carried  away 
the  prize,  his  composition  being  a  setting  of 
the  46th  psalm,  for  solo,  chorus,  orchestra, 
and  organ.  The  awarding  committee  con- 
sisted of  Reinecke  of  Leipsic,  Saint  Saens  of 
Paris,  and  Thomas  of  New  York.  The  prize 
composition  is  thus  described  by  the  composer 
himself  : 

"  The  composition  has  four  principal 
divisions  exclusive  of  an  introduction 
each  following  the  other  without  pause, 
and  connected  by  a  gradual  decres- 
cendo  in  the  orchestra.  The  open- 
ing of  the  psalm  seemed  to  me  to  indicate  a 
strong  outburst  of  praise  or  of  thanksgiving 
for  a  deliverance  from  trials,  which  the  intro- 
duction is  intended  to  convey.  But  instead 
of  commencing  with  a  strong  outburst  I  lead 
up  to  it  from  a  very  subdued  beginning,  work- 
ing gradually  to  a  climax  at  the  entrance  of 
the  chorus  on  the  words,  '  God  is  our  refuge 
and  our  strength.'  The  opening  movement  of 
the  chorus  becomes  a  little  subdued  very 
shortly  as  it  takes  up  the  words,  '  A  very  pres- 
ent help  in  trouble,'  which  is  followed  again 
by  an  allegro  con  fuoco  movement  on  the  words, 
'  Therefoie  we  will  not  fear  though  the  earth 
be  removed,  though  the  mountains  be  carried 
into  the  midst  of  the  sea."  This  movement 
leads  into  still  another,  a  furioso  movement  on 
the  words,  '  Though  the  waters  thereof  roar, 
though  the  mountains  shake  with  the  swelling 
thereof.'  This  is  followed  by  an  elaborate  coda 
in  which  all  the  themes  of  the  preceding 
movement  are  worded  together,  and  which 
brings  the  chorus  to  a  close.  The  second  di- 
vision, in  E  major,  is  marked  by  an  andante 
contemplative  on  the  words,  'There  is  a  river 
the  streams  whereof  shall  make  glad  the  city 


of  God.'  This  movement  is  intended  to  be 
one  of  tranquility,  varied  with  occasional  pas- 
sionate outbursts  on  the  words,  'God  is  in  the 
midst  of  her;  she  shall  not  be  moved.'  A 
peculiar  rythmical  effect  is  sought  by  the  alter- 
ation of  4-4  and  3-4  time,  three  bars  of  the  first  ' 
being  answered  by  two  bars  of  the  second. 
This  movement  ends  very  tranquilly  on  the 
words,  'God  shall  help  her  and  that  right 
early,'  and  is  immediately  followed  by  an  alle- 
gro molto,  in  B  minor,  on  the  words,  'The 
heathen  raged,  the  kingdoms  were  moved ;  he 
uttered  his  voice,  the  earth  melted.'  In  the 
middle  of  this  chorus  the  soprano  solo  enters 
for  the  first  time  on  the  words,  'He  that  mak- 
eth  wars  to  cease  unto  the  end  of  the  world ; 
He  breaketh  the  bow  anil  cutteth  the  spear  in 
sunder.'  The  chorus  works  up  to  a  strong 
climax  on  the  words,  'He  burnetii  the  chariot 
with  fire,'  which  is  suddenly  interrupted  by  a 
decrescendo  on  the  words,  'Be  still,  and  know 
that  I  am  God.'  This  leads  to  the  third  divis- 
ion, which  is  a  return  of  the  second  division  in 
E  major,  and  which  is  played  through  almost 
entirely  by  the  orchestra,  the  chorus  merely 
meditating  on  the  words  last  quoted.  This 
leads  to  the  final  chorus,  which  is  a  fugue  in  E 
major,  with  alia  breve  time,  on  the  words, 
'And  the  Lord  of  Hosts  is  with  us;  the  God  of 
Jacob  is  our  refuge,'  towards  the  close  of 
which  a  gloria  patri  is  introduced,  being 
woven  in  with  fragments  of  the  fugue  to  a 
strong  climax.  The  whole  composition  finish- 
es with  an  impetuous  accelerando.  My  cen- 
tral idea  was  to  make  a  choral  and  orchestral 
work,  the  solo,  while  requiring  a  good  singer, 
being  only  secondary.  The  psalm  seemed  to 
me  particularly  adapted  for  musical  composi- 
tion, as  being  capable  of  a  varied,  even 
dramatic  effect." 

Gilmore,  Patrick  Sarsfield,  well- 
known  in  this  country  as  a  conductor,  was 
born  Dec.  25,  1829,  near  Dublin,  Ireland. 
Early  in  life  he  came  to  Canada  with  an  Eng- 
lish band,  and  afterward  found  his  way  to 
Salem,  Mass.,  where  he  became  leader  of  a 
brass  band.  In  1849  he  went  to  Boston  and 
acted  as  leader  of  numerous  bands  there.  He 
organized  Gilmore's  band  in  1859,  and  with  it 
traveled  all  over  the  country,  giving  concerts 
in  the  principal  cities.  In  1864  he  gave  a 
grand  festival  in  New  Orleans,  and  was  the 
prime  mover  and  conductor  of  the  Peace  Jubi- 


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Ice  at  Boston,  in  1869  and  1872  (See  Peace 
Jubilees).  Mr.  Gilmore  has  repeatedly 
made  tours  of  this  country,  employing  the  best 
vocal  and  instrumental  soloists,  and  in  1878 
visited  the  principal  countries  of  Europe.  He 
now  resides  at  New  York.  His  compositions 
are  few. 

G-leason,  Frederic  Grant,  was  born 
Dec.  17,  1848,  at  Middletown,  Conn.  His 
love  of  music  was  inherited  from  both  his 
father  and  mother,  the  former  being  an  ex- 
cellent amateur  flutist,  and  the  latter  a  good 
contralto  singer  and  pianist.  The  bent  of  his 
nature  was  early  manifested  by  his  composing 
melodies  and  singing  them  to  himself.  When 
he  was  six  years  old  his  parents  removed  to 
Hartford,  Conn.,  where  he  became  a  member 
of  one  of  the  church  choirs.  His  desire  to 
study  music,  however,  did  not  meet  with  par- 
ental approval,  as  he  had  been  selected  for 
the  ministry.  At  the  age  of  sixteen  years  he 
assumed  the  rule  of  a  composer  and  wrote  an 
oratorio,  entitled,  "The  Captivity,"  the  poem 
being  by  Goldsmith.  This  he  had  not  fully 
completed  before  he  relinquished  it  for  a 
"Christmas  oratorio,"  the  words  of  which  he 
selected  from  the  Bible  and  from  Montgom- 
ery's version  of  the  psalms.  Both  of  these 
works  showed  more  than  ordinary  talent,  but 
were  crude,  as  their  author  was  not  acquainted 
with  harmony  and  composition.  His  father 
could  not  longer  refuse  to  gratify  the  son's 
musical  tastes,  and  accordingly  decided  to  edu- 
cate him  for  a  musician.  He  was  placed 
under  the  care  of  Dudley  Buck,  with  whom 
he  studied  piano  aud  composition  for  some 
time.  After  this  he  was  sent  to  Germany, 
and  entered  the  Conservator] um  at  Leipsic, 
where  he  was  taught  the  piano  by  Moscheles 
and  harmony  by  Richter.  At  the  same  time 
he  took  private  lessons  from  Plaidy  and  was 
instructed  in  composition  by  J.  C.  Lobe. 
Upon  the  death  of  Moscheles,  in  1870,  he 
went  to  Berlin,  where  he  continued  his  piano 
studies  under  Oscar  Raif,  a  pupil  of  Tausig, 
and  his  theoretical  studies  under  Carl  Frederic 
Weitzmann,  now  court  musician  to  the  Em- 
peror of  Russia  and  a  pupil  of  Spohr  and 
Hauptman.    After  staying  for  some  time  in  Ber- 


lin, Mr.  Gleason  returned  home  and  visited  his 
parents.  Shortly  after,  however,  he  went 
to  London,  where  he  studied  English  music, 
and  the  piano  under  Oscar  Berringer,  also  a 
pupil  of  Tausig.  He  then  went  again  to  Ber- 
lin and  there  for  the  second  time  took  lessons 
in  theory  from  Weitzman,  studying  the  piano 
under  Loeschorn  and  the  organ  under  Haupt. 
It  was  during  his  second  stay  in  Berlin  that 
he  prepared  his  work,  "Gleason's  Motet  Col- 
lection," published  by  W.  A.  Pond  &  Co.  of 
New  York. 

After  remaining  for  some  time  in  Germany, 
Mr.  Gleason  again  returned  home,  and  settled 
in  Hartford,  where  his  parents  resided.  He 
became  organist  of  one  of  the  churches  in 
Hartford  and  also  of  the  South  Church  in  New 
Britain,  Conn.  Besides  his  teaching  duties, 
he  was  busily  engaged  upon  his  opera,  "Otho 
Visconti."  The  work  has  not  yet  been  per- 
formed entire,  but  selections  from  it  have  fre- 
quently been  given,  the  vorspiel  and  trios  being 
especially  liked.  In  1876  he  removed  to 
Chicago,  and  became  teacher  of  piano,  organ, 
composition  and  instrumentation,  in  the  Her- 
shey  Music  School,  a  position  which  he  still 
( 1884)  holds.  In  1878  he  was  married  to  Miss 
Grace  A.  Hiltz,  a  Western  lady  who  is  well- 
known  as  a  vocalist  (See  Hiltz-Gleason). 
Gleason's  principal  works  are  as  follows  : 

Op.    1.     Songs  for  the  soprano  voice. 

"      2.      Organ  sonata  (C  sharp  minor). 

"     3.      Barcarola.      Piano. 

"     4.     Episcopal  Church  music. 

"     5.     Songs  for  the  alto  voice. 

"     6.     Episcopal  Church  music. 

"  7.  "  Otho  Visconti,"  a  grand  romantic 
operainthree  acts.  Selections  pub- 
lished by  W.  A.  Pond  &Co.,  N.Y. 

"     8.     Piano  pieces. 

"  9.  Trio,  No.  1  (C  minor).  Piano,  violin 
and  violoncello. 

"    10.     Quartets  for  female  voices. 

"   11.      "Overture     Triomphale."       Organ. 

"  12.  "God  Our  Deliverer,"  cantata.  So- 
los, chorus,   and  orchestra. 

"  13.  Trio,  No.  2  (A  major).  Piano,  vio- 
lin, and  violoncello. 

"  14.  "Culprit  Fay,"  cantata.  Solos,  cho- 
rus and  orchestra.  Words  by  Jos. 
Rodman  Drake. 

"  15.  Trio,  No.  3  (D  minor).  Piano,  vio- 
lin, and  violoncello. 


This  list  does  not  include  many  small  pieces,  I  joint  editor  with  H.  C.  Eddy  of  "The  Church 
published  and  unpublished,  having  no  opus  and  Concert  Organist,"  a  work  of  127  pages, 
number  attached  to  them.     Mr.  Gleason  is  the  |  containing  various  compositions  for  the  organ, 


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65 


original  and  selected,  with  pedalling,  finger- 
ing, and  registration  marked.  It  was  recently 
published  by  E.  Schuberth  &  Co.,  New  York, 
and  has  already  reached  a  second  edition.  He 
has  also  for  several  years  devoted  all  his  lei- 
sure time  to  the  composition,  both  words  and 
music,  of  the  grand  romantic  opera,  "  Monte- 
zuma." The  scene  is  laid  in  Mexico,  and  the 
work  deals  with  Mexican  religious  beliefs  and 
customs.  About  one  year  yet  will  be  required 
for  its  completion,  but  various  selections  have 
been  given,  which  show  that  when  completed 
it  will  take  its  place  as  the  equal  of  any 
American  operatic  work  ever  produced.  A 
number  of  terse,  pungent  articles  which  have 
appeared  in  different  musical  publications  have 
made  Mr.  Gleason  favorably  known  as  a 
writer. 

Oleilll,  Hope,  contralto  singer,  was  born 
in  the  state  of  Pennsylvania,  but  the  family 
removed  to  Iowa  when  she  was  very  young. 
From  1867  to  1871  she  studied  at  the  Iowa 
State  Normal  Academy  of  Music,  Iowa  City, 
where  she  resided.  She  then  studied  at  Chi- 
cago for  two  or  three  years.  In  1875  she  went 
to  Europe  and  was  introduced  to  Wartel  by 
Marie  Roze.  With  him  she  studied  about  a 
year,  as  she  also  did  with  Mme.Viardot-Garcia. 
After  this  she  went  to  Milan  and  finished  with 
Lamperti.  Her  operatic  debut  was  at  Malta 
in  1879,  as  Pierotto  in  "  Linda."  She  has 
sung  much  in  England,  mainly  in  concerts 
and  oratorio.  During  the  season  of  1S82-83 
and  that  of  18S3-84  she  sang  in  the  principal 
cities  of  this  country,  and  was  everywhere 
well  received. 

Goldbeck,  Robert,  pianist,  composer, 
and  teacher,  was  born  at  Potsdam,  near  Ber- 
lin, Prussia,  April  19,  1S39.  He  evinced 
striking  musical  talent  when  a  boy,  and  at- 
tracted the  attention  of  prominent  persons  in 
his  native  town,  chiefly  that  of  Alexander  von 
Humboldt,  through  whose  influence  an  intro- 
duction to  the  King  of  Prussia  was  managed, 
at  a  concert  expressly  arranged  for  this  pur- 
pose. Goldbeck  was,  in  consequence  of  this, 
sent  to  the  great  master  of  the  piano,  Henry 
Litolff  (Brunswick),  under  whom  he  pursued 
the  higher  branches  of  piano  playing  and 
composition.  His  first  teacher  in  piano  and 
harmony  was  his  uncle,  the  brother  of  his 
mother,  Louis  Kohler,  the  pupil  of  the 
Knight  von  Seyfried  (in  turn  pupil   and  friend 


of  Beethoven).  Provided  with  letters  from 
Humboldt  for  members  of  the  highest  circles 
of  Parisian  and  London  society,  notably  of 
the  latter,  the  Duke  of  Devonshire,  in 
honor  of  the  rising  young  artist,  threw  open 
the  famous  picture  gallery  of  Devonshire 
House,  Piccadilly,  there  to  have  him  appear  in 
a  concert.  In  1861  Goldbeck  came  to  New 
York,  where  he  wrote  the  greater  number  of 
his  larger  compositions,  such  as  his  five  sym- 
phonic pieces  for  piano  and  orchestra  (repeat- 
edly performed  by  the  Philharmonic  societies 
of  New  York  and  Brooklyn),  two  piano  con- 
certos with  orchestra,  his  "Symphony  Vic- 
toria," and  a  very  large  number  of  piano 
pieces  and  songs.  Besides  these  he  has  writ- 
ten two  trios  for  piano,  violin,  anil  'cello;  a 
quintet  for  piano  and  stringed  instruments, 
and  a  number  of  quartets  for  voices,  among 
which  stands  foremost  the  "Three  Fishers," 
for  male  voices,  a  composition  which  has  been 
repeatedly  given  by  the  most  celebrated  sing- 
ing societies  of  New  York,  Boston,  Philadel- 
phia, Chicago,  and  Milwaukee.  At  present, 
Gold  heck  resides  in  St.  Louis,  where  he  is 
the  director  of  a  prosperous  College  of  Music, 
and  from  whence  he  issues  the  well-known 
"Musical  Instructor"  and  "Musical  Art," 
which  have  placed  him  in  the  front  ranks  of 
musical  writers.  He  is  an  indefatigable 
worker  in  the  cause  of  music,  be  it  as  a  com- 
poser, teacher,  pianist,  or  literary  writer. — 
From  Brenner' 's  iiHandlexicon  of  Music.'" 

Mr.  Goldbeck's  stay  in  Paris  covered  a  pe- 
riod of  three  years,  during  which  time  he 
made  the  acquaintance  of  Alexander  Dumas, 
the  Dutchess  Geaune  de  Maille,  Berlioz, 
Halevy,  Pauseron,  Henry  Herz,  and  other 
celebrated  personages,  and  became  a  great 
favorite  in  the  highest  circles  of  society.  It 
was  upon  the  advice  of  Countess  Therese  de 
Appongi  of  Hungary  that  he  went  to  London, 
where  he  remained  about  eighteen  months. 
After  spending  some  time  in  New  York,  Bos- 
ton, and  other  eastern  cities,  he  proceeded  to 
Chicago,  where  he  took  charge  of  the  Chicago 
Conservatory  of  Music,  and  where  he  resided 
for  seven  years.  During  the  great  Chicago 
fire  of  October,  1871,  he  lost  many  of  his 
manuscripts,  and  among  them  that  of  the 
"Symphony  Victoria."  Some  seven  or  eight 
years  ago  he  removed  to  St.  Louis,  where  he 
was  for  some  time  one  of  the  directors  of  the 


66 


HANDBOOK    OF   AMERICAN   MUSIC    AND    MUSICIANS. 


Beethoven  Conservatory.  He  also  occu- 
pied the  post  of  conductor  of  the  St.  Louis 
1  larmonic  Society.  As  a  composer,  especially 
of  vocal  music,  he  shows  great  ingenuity  and 
originality,  and  is  one  of  the  few  composers 
who  have  something  like  a  style  of  their  own. 
As  a  teacher  he  is  unusually  successful  and 
his  pupils  are  numbered  by  the  thousands. 
His  playing  is  distinguished  for  clearness  of 
execution,  great  expression,  and  high  spirit. 
Mr.  Goldbeck  recently  (December,  1S85)  re- 
moved to  New  York  City,  where  he  is  engaged 
in  teaching,  giving  piano  recitals,  and  con- 
ducting. 

GrOltleil  Legend.  A  cantata  composed 
by  Dudley  Buck.  The  libretto  is  formed  of 
extracts  from  Longfellow's  celebrated  poem, 
"The  Golden  Legend."  There  are  fourteen 
numbers,  three  of  which  are  wholly  instru- 
mental. In  general  style  the  work,  which  is 
for  solos,  chorus  and  full  orchestra,  somewhat 
resembles  those  of  Berlioz,  and  is  essentially 
modern  in  every  respect.  It  was  written  in 
competition  for  the  prize  of  $1000  offered  by 
the  Cincinnati  May  P'estival  Association  in 
1879  for  the  best  composition  by  a  native  born 
American  composer,  and  was  awarded  the 
prize.  Performed  at  the  Festival  in  May, 
1880. 

G-ottschalk,  Louis  Moreau,  one  of  the 
most  popular  and  gifted  of  American  pianists; 
was  born  May  8,  1829,  at  New  Orleans,  La. 
His  father,  Edward  Gottschalk,  came  to  this 
country  from  England,  and  his  mother's  name 
was  Aimee  Marie  de  Brasle.  At  an  early  age 
his  musical  talents  began  to  manifest  them- 
selves, and  when  about  four  years  old  he  was 
placed  under  the  instruction  of  a  Mr.  Letel- 
lier,  a  French  musician  of  New  Orleans. 
When  six  years  old  he  also  began  to  study  the 
violin  under  a  Mr.  Ely.  His  progress  was 
very  rapid,  and  about  this  time  he  was  once 
permitted  to  play  the  organ  in  church.  At  the  ' 
age  of  eight  years  he  appeared  in  public  as  a  j 
player,  and  gave  a  concert  for  the  benefit  of  a 
Mr.  Miolan,  a  violinist  at  the  French  opera. 
In  1842  he  was  sent  to  Paris  to  complete  his  j 
studies,  where  for  a  short  time  he  took  lessons  ! 
of  Charles  Halle,  but  shortly  after  was  placed 
under  Camille  Stamaty,  and  at  the  age  of; 
thirteen  began  to  study  harmony  with  M-  1 
Maledan.  Shortly  after  this  he  assumed  the 
rdle  of  a   composer,    his  first  pieces  being  two 


ballads,  called  "Ossian,"  followed  by  "Danse 
des  Ombres."  In  the  summer  of  1846  he 
went  on  a  tour  through  the  Vosges.  During 
the  winter  of  1846  and  1847  he  gave  a  series 
of  concerts  with  Berlioz,  at  the  Italian  opera, 
which  were  very  successful.  In  the  summer 
of  1847  he  made  a  tour  of  Switzerland.  Re- 
turning to  Paris  in  December,  he  gave  many 
concerts.  In  1849  he  journeyed  through 
France  and  Spain,  everywhere  meeting  with  a 
flattering  reception.  His  stay  in  Spain  was 
lengthened  to  two  years,  and  it  was  not  until 
the  autumn  of  1852  that  he  returned  to  Paris. 
Early  in  1853  he  arrived  in  New  York,  where 
he  gave  his  first  concert  Feb.  nth,  at  Niblo's 
Garden,  and  was  well  received.  His  second 
concert  occurred  Feb.  17th,  when  he  rendered 
many  of  his  own  compositions.  Oct.  18,  1853, 
he  made  his  first  appearance  in  Boston,  at  the 
Music  Hall,  but  was  rather  coldly  received. 
At  a  second  concert  soon  after  he  fared 
better.  During  the  winter  of  1S53  and  1854  he 
gave  concerts  in  the  Middle  States,  and  then 
went  to  New  Orleaas.  In  September  he  re- 
turned to  New  York  and  gave  performances 
in  Syracuse,  Albany,  and  other  cities  of 
the  State.  The  following  November  he 
went  to  Philadelphia,  and  shortly  after  to 
the  West  Indies,  via  New  Orleans.  His 
stay  there  was  protracted  to  six  years, 
during  which  time  he  gave  concerts  and 
conducted  musical  performances.  In  Feb- 
ruary, 1S62,  he  returned  to  New  York,  and 
the  time  of  the  ensuing  summer  was  spent  in 
giving  concerts  in  various  parts  of  the  coun- 
try-. His  first  appearance  at  Chicago  was 
made  April  14,  1S62,  when  he  was  supported 
by  Carlotta  Patti,  George  Simpson,  Morine, 
and  Carl  Bergmann.  In  1S64  he  made  a  tour 
of  Canada  and  part  of  the  West,  and  in  June, 
1865,  sailed  for  California.  He  then  went  to 
Chili,  and  gave  concerts,  etc.,  there  and  in 
other  South  American  States.  In  May,  1869, 
he  went  to  Rio  de  Janeiro,  Brazil,  and  there 
prepared  for  a  grand  festival,  which  took 
place  Nov.  26th,  at  the  Opera  House.  The 
following  day  he  was  seized  with  a  severe 
illness.  On  Dec.  8th  he  was  taken  to  Tijuca, 
a  plateau  a  short  distance  from  the  city,  in 
hopes  that  the  change  would  benefit  him. 
There  he  died  Dec.  18,  1869. 

As  a  pianist  Gottschalk  Mas  refined,  grace- 
ful,   and   suave    to    the  hist  degree,  though  not 


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67 


incapable  of  imparting  a  force  and  depth  of 
feeling  to  his  playing.  His  compositions  are 
full  of  the  same  characteristics,  but  devoid  of 
any  originality  and  little  calculated  to  endure. 
Some  of  his  many  pieces  are  "Bannier," 
"  Savane,"  and  "  Bamboula,"  1844;  "  Man- 
cenillier,"  "  Chasse  de  jeune  Henri," 
"  Songe  d'une  Nuit  d'Ete,"  and  "  La  Mors- 
sonneuse  Mazurka,"  1847;  "Carnival  de 
Venise;"  "Jerusalem;"  "Chant  de  Soldat," 
"  Ricordati,"  and  "Valse  Poetique,"  1857  ; 
"March  Solennelle,"  "Minuit  a  Seville,"  and 
"  Reflets  du  Passe,"  1858;  three  insignificant 
pieces  under  the  name  of  "Seven  Octaves," 
1859;  "Mauchega"  (ettide),  "Souvenir  de  la 
Havane,"  "  Ardennes,"  "  Jeunesse  Ma- 
sourka,"  "La  Chute  des  Feuilles,"  and  a  duo, 
i860;  "  Polonia,"  1861;  "O  ma  Charmante" 
(caprice),  "  Suis  Moi  "  (caprice),  and 
"  Berceuse,"  1862  ;  several  songs,  1863  ; 
"La  Colombe,"  "Ojos  Criollos^'  "Miserere 
du  Trovatore,"  "Reponds"  (duo),  overture 
to  William  Tell,  and  songs,  1864;  and  a  song 
and  duo,  "  La  Gallina,"  1865.  "  Life  and 
Letters  of  Gottschalk,"  by  Octavia  Hensel 
( Boston,  O.  Ditson  &  Co.,  1S70),  is  a  romantic 
biography,  pleasant  to  read  but  of  little  value 
to  the  historian.  A  sketch  of  his  life  and 
works  has  lately  been  prepared  by  his  sister, 
Clara  Gottschalk. 

Goulttj    Nathaniel    Dater,    born    at , 

Chlemsford,    Mass.,    in    1789,  was  one  of   the  ; 
early   American    composers    and    teachers,    a 
contemporary    of   Mason  and    Hastings.      He  j 
was  very  successful  as  a  teacher  and  conduct-  j 
ed  a.  great  many  singing  schools.     According 
to  his  own  statement    he  had  no  less  than  fifty  j 
thousand    pupils    in    these  schools.      The  fol-  i 
lowing  are  his  works,  all  of   which  were  pub-  ! 
lished   at    Boston:      "The  Social  Harmony"  j 
(1823),    152    pages,    4to  ;    "National  Church 
Harmony"  (1832);  "Sacred  Minstrel"  (1840);  1 
"Companion    for     the    Psalmist,     containing  > 
original    Music    for  Hymns  of  peculiar   Char- I 
acter   and    Meter,    and    to    most   of  which  no 
Tunes    are    to   be   found   in  existing  Publica-  I 
tions"  (1844);   and  "Church  Music  in  Ameri- 
ca" (1853),  240  pages,    12  mo.     The   last  is  \ 
the    most  important,    and  while,   as  might  be 
expected,  there  is  considerable  ambiguity  and 
incorrectness,  it  is  still  of  value.     Gould  died  , 
in  1864.     John  W.  Moore,  in  his  "Dictionary 
of   Musical    Information,"  says  that  his  name 


was    originally    Duren,    but   was   changed    in 
1806  to  secure  the  estate  of  an  uncle. 

Grand   Conservatory  of  Music, 

New  York  City.  The  conservatory  system 
proper  did  not  take  root  in  this  country  until 
1859.  Singing-schools,  conventions,  and  insti- 
tutes, were  held  prior  to  this,  but  while  they 
undoubtedly  prepared  the  way  for  conserva- 
tories, they  were  more  or  less  imperfect  and 
incomplete.  In  the  year  named,  the  National 
Conservatory  of  Music  was  founded  by  the 
elder  of  the  Mollenhauer  brothers  and  Lejeat. 
Though  successful  for  awhile,  a  dispute 
arose  among  the  teachers,  which  finally  led 
to  the  secession  of  several  of  them  and  a  large 
number  of  pupils.  The  seceding  faction  was 
taken  in  charge  by  Julius  Schuberth,  and 
gradually  developed  into  what  was  later 
known  as  the  New  York  Conservatory  of 
Music.  This  institution  prospered  as  long  as 
Mr.  Schuberth  was  connected  with  it,  but  upon 
his  retiral  it  passed  into  the  hands  of  those  who 
were  not  musicians,  and  after  considerable 
wrangling  among  the  management  and  teach- 
ers, shared  a  fate  similar  to  that  of  its  parent. 
After  this,  the  conservatory  system  led  a 
rather  checkered  career  in  New  York.  Up  to 
the  year  1873,  the  following  conservatories 
were  inaugurated,  flourished  and  died  :  The 
American  Conservatory,  The  European  Con- 
servatory, The  Mason  and  Thomas  Conserva- 
tory, Anschutz's  Conservatory,  The  New  York 
Normal  Conservatory,  and  several  others  of 
less  importance.  The  permanent  artistic  results 
were  very  small.  In  the  spring  of  1874  the 
present  Grand  Conservatory  of  Music  was 
founded  by  Ernst  Eberhard,  who  is  an  excel- 
lent musician  and  well  qualified  to  take  charge 
of  such  an  institution.  The  success  of  the  Con- 
servatory, which  is  conducted  on  thoroughly 
artistic  principles,  was  not  only  immediate  but 
has  been  lasting.  So  rapidly  has  the  number 
oi  pupils  increased  that  larger  accommodations 
were  necessary,  and  in  February  of  the  present 
(1882)  year,  the  Conservatory  was  removed 
to  46  West  23rd  Street.  The  course  of  study 
at  the  Conservatory  includes  every  branch  of 
music.  A  staff  of  about  thirty  professors  im- 
parts instruction.  Among  them  are  Geo.  C. 
Mt'tller,  G.  Operti,  P'rancesco  Tamburello, 
William  II.  Walter,  George  W.  Morgan, 
H.  Maylath,  and  others  equally  well  known. 
The    institution    is    incorporated,    and    has    a 


68 


HANDBOOK   OF    AMERICAN    MUSIC   AND    MUSICIANS. 


board  of  nine  directors,  with  the  following 
officers:  E.  Eberhard,  president;  Alt'.  K. 
Kirkus,  vice-president;  Wm.  Dinsmore,  sec- 
retary, and  E.  Cure,  treasurer. 

A  special  feature  of  the  Conservatory  is  the 
artists'  class  in  virtuoso  playing  fur  advanced 
pianists,  which  has  led  to  excellent  results. 
A  good  library  is  connected  with  the  institu- 
tion, free  to  pupils,  which  contains  many  val- 
uable and  rare  works,  among  them  being  sev- 
eral manuscripts  of  the  13th,  14th  and  15th 
centuries.  The  Grand  Conservatory  Publish- 
ing Company  issues  in  uniform  style  for  the 
use  of  the  Conservatory  the  principal  studies 
of  Bertini,  Biilow,  Chopin,  Clementi,  Tansig, 
Thalberg,  Cramer,  etc.,  as  well  as  other 
works. 

Graupner,  Gottlieb,  one  of  the  first 

foreign  musicians  who  came  to  America,  was 
probably  born  about  1740.  He  was  oboist  in 
a  Hanoverian  regiment  band,  but  after  obtain- 
ing  an  honorable  discharge  (April  8,  1788) 
went  to  London,  where  he  played  in  the 
orchestra  of  Solomon's  concerts  when  Haydn 
brought  out  his  twelve  symphonies.  "  From 
London,"  in  the  words  of  J.  S.  Dwight,  "he 
came  to  Prince  Edward's  Island  ;  then  spent 
some  time  in  Charlestown,  S.  C,  where  he 
married,  and  came  to  Boston  in  1798."  He 
gathered  around  him  some  musical  friends, 
and  together  they  formed  a  "  Philharmonic 
Society,"  which  was  the  precursor  of  the 
Handel  and  Haydn  Society.  He  also  took  an 
active  part  in  the  organization  of  the  latter 
society,  and  was  one  of  the  three  persons  who 
signed  the  call,  dated  March  24,  1815.  For 
some  time  he  kept  a  small  music  store,  and 
.veil  engraved  and  published  music  for  his 
pupils.  "  The  Rudiments  of  the  Art  of  Play- 
ing on  the  Pianoforte,"  a  work  of  merit,  was 
one  which  he  edited.  The  date  of  his  death 
we  have  been  unable  to  ascertain.  Mrs. 
Catherine  Graupner  was  a  prominent  singer 
of  her  time.  She  died  at  Boston  about  July 
1,  1821. 

Oretltorex,  IIknry  W.,  American  psal- 
modist,  was  born  in  1816,  at  Boston.  He 
was  for  some  time  organist  at  Hartford,  Conn. 
Among  his  several  compilations  is  the  "Grea- 
torex  Collection,"  published  in  1851.  Some 
of  his  music  has  come  into  general  use.  He 
died  at  Charleston,  S.  C,  in  1858. 


CirisWOlil,  GERTRUDE,  a  young  but  al- 
ready celebrated  prima  donna,  was  born  in  1S01 
at  New  York  City,  where  her  father  was  a 
wealthy  ship-owner  and  importer.  She  was 
brought  up  with  every  advantage  which 
money  could  procure,  but  reverses  came,  and 
her  father,  whose  health  had  been  destroyed 
by  the  blow,  soon  died.  It  was  then  that  she 
thought  of  turning  her  fine  voice  to  some 
practical  account,  and,  accompanied  by  her 
mother,  left  New  York  for  Paris.  Fortunately 
she  was  able  to  obtain  admission  to  the 
Conservatoire,  where,  under  the  care  of 
Barbot  and  Obin,  she  bent  all  her  energies 
toward  preparing  for  the  stage.  Innumerable 
difficulties  and  discouragements  lay  in  her 
way,  not  the  least  of  which  was  the  natural 
envy  of  the  native  students,  but  she  bravely 
met  them  all.  At  last  the  time  for  her  debut 
came,  which  was  effected  at  the  Academie, 
Paris,  June  6,  18S1,  in  Ambroise  Thomas' 
"Ophelia,"  which  she  had  studied  under  the 
direction  of  the  composer  himself.  Her  suc- 
cess was  unbounded,  and  at  the  close  she  was 
greeted  with  prolonged  applause.  Gounod, 
Thomas,  and  many  others,  congratulated  her. 
According  to  the  rules  of  the  Conservatoire, 
the  government  is  entitled  to  her  services  for 
two  years,  but  at  the  end  of  that  time  she  will 
be  free  to  accept  such  engagements  (she  has 
already  been  offered  several  good  ones)  as  she 
may  desire.  Gounod  wrote  the  soprano  part 
of  his  "Redemption"  with  especial  reference 
to  her  voice,  which  is  a  pure,  clear,  sweet 
soprano  of  extended  range.  She  can  take  D 
in  alt  with  scarcely  an  effort,  and  surmounts 
the  hardest  technical  difficulties  with  ease. 
Miss  Griswold  will  undoubtedly  soon  become 
one  of  the  greatest  operatic  singers  of  the 
world.  Her  first  appearance  in  her  native 
country  will  be  watched  for  with  unusual 
interest. 

Grounds   and   Rules  of  Music. 

A  singing  book  published  by  Rev.  Thomas 
Walter  of  Roxbury,  Mass.,  in  the  year  1721. 
The  title  page  runs  thus  :  "The  Grounds  and 
Rules  of  Musick  explained.  Or  an  Introduc- 
tion to  the  Art  of  singing  by  Note  :  Fitted  to 
the  meanest  Capacity.  By  Thomas  Walter, 
A.  M.  Recommended  by  several  Ministers. 
'  Let  everything  that  hath  truth  praise  the 
Lord,'  Ps.  150,6.  Boston:  Printed  by  Ben- 
jamin Mecon  at  the  new  Printing  Office  near 


DICTIONARY   OF    AMERICAN   MUSIC    AND    MUSICIANS 


69 


the  Town  Hall :  for  Thomas  Johnstone,  in 
Brattle  Street."  The  book  was  a  small  ob- 
long volume,  and  the  preface,  which  is  dated 
"Boston,  April  18,  1721,"  recommends  that 
everyone  sing  with  "  Grace  in  their  Hearts"  1 
that  "they  may  make  Melody  to  tin-  /a>/</." 
Its  tunes  are  arranged  in  three  parts,  and  the  J 
music  is  barred.  That  the  little  volume  met 
with  a  cordial  reception  is  evidenced  by  the 
fact  that  it  passed  tl  rough  many  editions. 
The  names  of  the  "several  Ministers"  who 
recommended  it  are  as  follows  : 

Peter    Thacher,     Joseph    Sewell,     Thomas 


Prince,  John  Webb,  William  Cooper,  Thomas 
Foxcroft,  Samuel  Checkley,  Increase  Mather, 
Cotton  Mather,  Nehemiah  Walter,  Joseph 
Belcher,  Benjamin  Wadsworth,  Benjamin 
Coleman,  Nathaniel  Williams,  Nathaniel 
Hunting. 

In  1764,  Daniel  Bailey  of  Newburyport, 
Mass.,  published  "A  new  and  complete  Intro- 
duction to  the  Grounds  and  Rules  of  Music, 
in  two  books."  The  first  book  is  compiled 
from  that  of  Walter,  and  the  second  from 
Wm,  Tansur's  "Royal  Melody."  The  tunes 
are  arranged  in  three  parts. 


H. 


Ha  gen,  Theodore,  whs  born  April  15,  ' 

1823,  at  Hamburg,  Germany.  He  studied 
the  piano  under  Jaquez  Schmitt,  and  in  1841 
went  to  Paris,  where  he  was  a  pupil  in  harmo- 
ny for  two  years  of  Kastner.  Returning  to 
Germany  he  gave  concerts,  in  which  he  intro- 
duced some  of  his  own  compositions.  About 
this  time  he  began  to  be  known  as  a  musical 
writer,  and  contributed  articles  to  many  Ger- 
man publications,  especially  Schumann's 
"Neue  Zeitschrift  fiir  Musik."  He  was  em- 
ployed as  musical  editor  of  a  Hamburg  daily 
paper,  and  soon  after  published  his  book, 
'•Civilization  and  Music,"  which  was  followed 
in  1848  by  his  "Musical  Novels."  These  | 
were  so  successful  as  to  be  translated  into 
French  and  English.  In  1854  he  came  to 
this  country,  and  having  made  the  acquaint- 
ance of  William  Mason  at  Weimar,  he  was 
offered  the  editorship  of  "  The  Musical  Ga- 
zette," a  new  publication  about  to  be  started 
by  the  Mason  brothers.  At  the  end  of  about 
six  months  it  was  consolidated  with  the  "  New 
York  Musical  Review  and  Gazette,"  of  which 
he  also  became  editor.  In  1862  he  became 
both  editor  and  proprietor.  He  was  little 
known  as  a  practical  musician,  but  as  a  writer 
he  took  a  prominent  place.  He  died  at  New  j 
York,  Dec.  27,  187 1. 

Hail,  Columbia.  One  of  the  most 
popular  of  American  national  songs.  The 
words  were  written  by  Judge  Joseph  Hopkin- 
son  in  1798  for  a  friend  of  his.  This  friend 
was  a  singer  at  one  of  the  theatres  of  Phila- 
delphia (then  capitol  of  the  United  States 
and  the  piece  was  first  sung  at  this  theatre. 
Its  success  was  instantaneous,  and  by  common 
consent  it  became  a  national  song.  The  mel- 
ody is  from  the  "  President's  March,"  then  a 
very  popular  piece,  but  as  to  whom  the  com- 
poser was  is  not  known.  The  melody  as 
usually  sung  is  here  given  with  the  words  : 


— Hail,  Columbia,  happy  land  ! 
Hail,  ye  heroes  !   heaven-born  band  ! 
Who  fought  and  bled  in  freedom's  cause 
And  when  the  storm   of  war  was  gone. 
Enjoyed  the  peace  your  valor  won. 
Let  independence  be  our  boast, 
Ever  mindful  what  it  cost  ; 
Ever  grateful  for  the  prize, 
Let  its  altar  reach  the  skies. 


DICTIONARY    OF   AMERICAN    MUSIC    AND    MUSICIANS. 


2.  —  Immortal  patriots  !   rise  once  more, 
Defend  your  rights,    defend  your  shore  ; 

||:  Let  no  rude  foe  with  impious  hand  :|| 
Invade  the  shrine  where  sacred  lies, 
Of  toil  and  blood  the  well-earned  prize. 
While  ottering  peace,  sincere  and  just, 
In  heaven  we  place  a  manly  trust, 
That  truth  and  justice  will  prevail  , 
And  every  scheme  of  bondage  fail. 

3. — Sound,  sound  the  trump  of  fame  ! 

Let  Washington's  great  name 
||:Ring  through  the  world  with  great  applause :|| 

Let  every  clime  to  freedom  dear 

Listen  with  a  joyful  ear. 

With  equal  skill,  with  god-like  power, 

He  governs  in  the  fearful  hour 

Of  horrid  war,  or  guides  with  ease 

The  happier  times  of  honest  peace. 

4. — Behold  the  Chief  who  now  commands, 
Once  more  to  serve  his  country  stands. 

||:  The  rock  on  which  the  storm  will  beat  :|| 
But  armed  in  virtue,  firm  and  true, 
His  hopes  are  fixed  on  heaven  and  you. 
When  gloom  obscured  Columbia's  day, 
When  hope  was  sinking  in  dismay, 
His  steady  mind  from  changes  free  , 
Resolved  on  death  or  Liberty. 

Refrain  : — Firm,  united,  let  us  be, 
Rallying  round  our  liberty  ; 
As  a  band  of  brothers  joined, 
Peace  and  safety  we  shall  find. 

Hall,  General  William,  was  born  May 
13,  1796,  atTarrytown  (then  Sparta),  N.Y.  He 
was  apprenticed  to  a  musical  instrument  man- 
ufacturer in  Albany,  and  in  181 2  went  to  New 
York  City,  where  in  1821  he  commenced 
business  in  partnership  with  John  Firth, 
an  Englishman,  under  the  firm  name  of  Firth 
.\;  Hall.  In  1832  the  firm  became  Firth, 
Hall  &  Bond,  but  in  1847  Gen.  Hall  withdrew 
and  established  a  business  in  conjunction  with 
his  son,  James  F.,  under  the  name  ofWm. 
Hall  &  Son.  Gen.  Hall  was  for  some  time 
president  of  the  Sacred  Music  Society.  He 
died  May  3,  187/). 

Hailierik,  ASGER,  was  born  April  8, 
1843,  at  Copenhagen,  Denmark.  His  father 
was  professor  in  a  university,  and  he,  being 
designed  for  a  similar  position  in  life,  was 
sent  to  college.  His  taste  for  music,  how- 
ever, was  very  strong,  and  lie  persist- 
ently studied  it  without  the  aid  of  a 
teacher.  When  fifteen  years  of  age  he 
wrote  a  cantata  for  solo  voices,  chorus, 
and  orchestra,  which  was  not  without  merit. 
Meanwhile  he  continued  to  attend  school,  and 
it  was  not  until  1859  that   his  father  consented 


to  employ  a  music  teacher  for  him.  From 
this  time  his  progress  was  very  rapid.  He 
was  successively  placed  under  Gade  ami 
Haberbier.  In  1861  he  went  to  London,  and 
from  there  to  Berlin,  where  he  studied  three 
winters  under  von  Btilow.  In  the  spring  of 
1S63  he  left  Berlin  for  Paris,  where  he  was 
fortunate  enough  to  become  the  pupil  (and 
only  one)  of  Berlioz.  After  a  stay  of  two 
years  in  the  French  capital,  he  returned  to 
Copenhagen,  and  there  brought  out  his  first 
opera,  "Tovelille,"  in  five  acts.  In  1866  he 
again  went  to  Paris,  composed  his  opera  of 
"  Hjalmar  and  Ingeborg,"  and  then  in  com- 
pany with  Berlioz  spent  the  ensuing  winter 
in  Vienna.  The  following  year  (1867)  he  was 
I  one  of  the  jury  that  awarded  the  musical  prizes 
at  the  exhibition  in  Paris.  He  was  also  dec- 
I  orated  with  a  gold  medal  for  his  "  Hymne 
a  la  paix,"  written  for  solo,  chorus,  orchestra, 
two  organs,  thirteen  harps,  and  four  church 
[  bells.  After  this  he  visited  Italy,  and  while 
!  there  wrote  his  opera  of  "La  Vendetta,', 
produced  at  Milan  in  1870.  At  Vienna  he  wrote 
the  opera  of  "The  Traveler.'' 

In  the  autumn  of  1870  he  came  to  the  United 
States,  and  was  engaged  as  director  of  the 
conservatory  of  music  connected  with  the 
Peabody  Institute,  Baltimore,  a  position  which 
he  still  (Jan.,  1S85)  retains.  Since  coming 
here  his  principal  compositions  have  been  five 
Norse  suites  for  orchestra.  A  complete  list 
of  his  works  is  as  follows:  "Roland,"  op.  1  ; 
orchestra]  fantasia,  op.  2 ;  symphony  in  C 
minor,  op.  35a  set  of  songs,  op.  4*  ;  cantata, 
op.  5  ;  quintet  in  C  minor,  for  piano,  violins, 
viola,  and  violoncello,  op.  6 ;  overture  in  1 ) 
minor,  op.  7  ;  fantasia,  op.  S ;  fantasia,  op. 
9;  "  Le  voile,"  op.  10*;  Christmas  can- 
|  tata,  op.  11;  "Tovelille,"  an  opera  in  five 
acts,  op.  12;  set  of  songs,  op.  13*;  Ave 
Maria,  op.  14*;  march,  op.  15;  "  Hymn  to 
Liberty,"  op.  16;  "Hymne  a  la  paix,"  op. 
17*;  "  Hjalmar  and  Ingeborg,"  an  opera  in 
five  acts,  op.  18  ;  Jewish  trilogy  in  C  minor 
for  orchestra,  op.  19*;  "  La  Vendetta,"  opera, 
op.  20*,  "The  Traveler,  op.  21*;  first  Norse 
suite,  cp.  22*;  second  Norse  suite,  op.  23*; 
i  third  Norse  suite,  op.  24*;  fourth  Norse  suite, 
j  op.  25*;  fifth  Norse  suite,  op.  26*;  Romance 
I  for  violoncello,  op.  27*;  May-dance,  op.  28*; 
Symphonie  poetique,  No.  I,  in  F  major,  op. 
29*;   Opera  without  words,  op.   30*;    Christain 


DICTIONARY    OF    AMERICAN    MUSIC    AND   MUSICIANS. 


trilogy,  for  orchestra,  chorus,  baritone  solo 
and  organ,  op.  31*;  Symphonie  tragique,  No. 

2,  op.  32*  ;  Symphonie  lyrique,  No.  3,  op.  33* 
The  numbers  that  are  marked  with  an  asterisk 
are  those  that  have  been  published  ;  the  rest 
remain  in  manuscript. 

Air.  Ilamerik  is  a  thorough  musician,  has  a 
rare  faculty  of  conducting,  and  is  a  fine  com- 
poser. All  of  his  works  are  pervaded  by  that 
element  which  is  the  characteristic  of  all 
Norse  composers,  and  in  this  respect  he  closely 
resembles  Gade.  His  summers  are  spent  in 
visiting  his  old  home  and  in  traveling  in 
Europe. 

Hanchett,  HENRY  G.,  pianist,  was  born 
Aug.  29,  1S53,  at  Syracuse,  N.  V.  When 
three  years  old  he  began  to  take  music  lessons 
of  Ids  parents,  and  at  the  age  of  six  Was  placed 
under  the  care  of  Ernest  Held,  an  excellent 
musician  of  his  native  city,  with  whom  he 
studied  nine  years.  Considerable  of  his  time 
was  occupied  with  childish  amusements,  bu. 
lie  became  proficient  enough  to  master 
Eiszt's  arrangement  of  Schuberts  "Wanderer" 
ai  d  Beethoven's  op.  7.  Awaking  to  the  ne- 
cessity of  study,  he  set  himself  to  work  with 
renewed  dilligence.  Upon  proposing  1o 
become  a  professional  musician  he  was 
opposed  by  his  father,  and  received  no  more 
lessons  for  some  time,  but  continued  to  prac- 
tice. About  1870  he  took  some  lessons  in 
theory  from  A.  J.  Goodrich,  by  whom  he  was 
advised  and  encouraged.  Unremitted  appli- 
cation, however,  brought  its  penalty,  and  in 
1872  he  was  attacked  by  congestion  of  the 
brain,  which  produced  intermittent  blindness. 
Four  years  of  absolute  rest  from  study,  plenty 
of  exercise,  and  medical  treatment  cured  him, 
but  it  was  not  until  1878  that  he  fully  resumed 
study  and  practice.  In  1879  he  made  his  debut 
as  a  player  at  Chickering  Hall,  New  York 
City.  About  this  time  he  received  and  ac- 
cepted an  offer  to  become  a  professor  in  the 
Beethoven  Conservatory,  St.  Eouis,  with 
which  institution  he  was  connected  a  year  or 
two.  He  is  now  (1885)  located  in  New  York. 
In  1881  he  went  to  Germany  and  examined 
the  methods  of  study  there.  While  in  Berlin 
he  was  asked  by  Dr.  Kullak  to  fill  a  vacant 
post  as  professor  of  the  piano  at  the  Conserva- 
torium.  Mr.  Hanchett  is  not  only  a  tine 
pianist,  but  an  unusually  gifted  musical  Writer 
and  lecturer. 


Harmcmia  Americana.   A  collection 

of  church  music  published  at  Boston,  in  1791, 
by  Samuel  Holyoke.  The  title-page  reads ; 
•'Harmonia  Americana,  Containing  a  concise 
introduction  to  the  grounds  of  Music,  with  a 
variety  of  airs  suitable  to  Divine  Worship, 
an  1  the  use  of  Musical  Societies,  consisting  of 
three  and  four  parts.  Boston,  Jan.  24,  1791." 
In  the  preface,  the  author  condemns  the 
"fuguing"  pieces,  which  were  then  quite 
popular.  At  the  time  the  book  was  published, 
Holyoke  was  but  twenty  years  of  age. 

Harmonica.  An  instrument  invented 
or  rather  perfected  by  Benjamin  Franklin, 
who  called  it  "Armonica."  It  consisted  of 
a  box  or  trough  mounted  on  legs,  through 
which  ran  a  spindle  having  a  wheel  affixed  at 
one  end.  On  this  spindle  were  arranged  in 
regular  order,  according  to  their  size,  glass 
bells  or  basons.  A  treadle  was  connected 
with  the  wheel  on  the  spindle,  by  which  the 
glasses  were  made  to  revolve.  The  music 
was  produced  by  applying  the  fingers  to  the 
edges  of  the  glasses,  which  were  kept  damp 
by  the  water  in  the  trough.  The  harmonica 
seems  to  have  been  quite  fashionable  during 
the  latter  part  of  the  last  and  the  early  part  of 
this  century,  especially  in  Europe.  The  first 
notable  performer  thereon  was  Miss  Marianne 
Davis,  for  whom  Hasse  composed  music. 
Another  celebrated  player,  though  blind,  was 
Marian na  Kirchgiissner.  So  much  in  favor 
did  the  harmonica  become,  that  several  great 
musicians  were  induced  to  compose  music  for 
it.  Mozart  wrote  an  adagio  and  rondo  in  C 
for  harmonica,  flute,  oboe,  viola  and  violon- 
cello. Beethoven  also  wrote  a  short  piece  for 
it  for  his  friend  Duncker,  in  1814  or  1815. 
Attempts  at  something  like  the  harmonica 
were  made  some  time  before  Franklin  brought 
out  his  instrument,  and  the  capacity  of  glasses 
to  produce  music  seems  to  have  been  known 
as  early  as  the  middle  of  the  17th  century. 
It  remained,  however,  for  Franklin's  practical 
mind  to  make  a  practical  musical  instrument 
from  them.  Attempts  have  been  made  to 
modify  or  improve  the  harmonica,  but  without 
success  thus  far. 

Hastings,  Dr.  Thomas,  was  born  Oct. 
15,  1784,  at  Washington,  Eitchfield  Co., 
Conn.  In  1796  his  parents  removed  to  Oneida 
County,  N.  Y.,  and  in  1819  he  published  "Mu- 
sica  Sacra;  or  Springfield  and  Utica  Collections 


HANDBOOK    OF   AMERICAN    MUSIC    AND    MUSICIANS. 


United."  He  was  assisted  in  the  labor  by 
Solomon  Warriner  of  Utica.  His  "  Disserta- 
tion on  Musical  Taste,"  which  created  a  great 
deal  of  discussion,  was  published  in  1S22. 
In  1S23  he  removed  from  Albany  to  Utica, 
N.  Y.,  where  he  became  editor  of  a  religious 
publication.  He  continued  to  act  in  this 
capacity  nine  years,  writing  many  articles  on 
sacred  music.  These  gained  him  numerous 
requests  to  lecture.  In  1S32,  upon  the  invitation 
of  twelve  New  York  churches,  he  removed  to 
that  city.  From  that  time  he  devoted  himself 
to  the  interests  of  church  music.  His  works  are 
••Spiritual  Songs"  (Utica,  1831  );"The  Christ- 
ain  Psalmodist  "  (1S36),  in  the  preparation  of 
which  he  was  assisted  by  Dr.  William  Patton;" 
"Manhattan Collection,"  1837;  "SacredLyre" 
(1840);  a  collection  of  juvenile  and  nursery 
songs, issued  about  the  same  time;"The  Psalmo- 
dist" (1844)  "The  Choralist"(  1 847) "Mendels- 
sohn Collection"  (1847);  "The  Psalmista" 
(1851),  these  last  four  being  edited  in  con- 
junction with  Wm.  B.  Bradbury;  and  "Selah  " 
(1S56).  Besides  these  he  issued  "Devotional 
Hymns  and  Poems,"  of  his  own  writing,  and 
"  The  Church  Melodies,"  in  which  he  was 
assisted  by  his  son,  Rev.  T.  S.  Hastings,  and 
edited  two  collections  of  hymns  and  tunes  for 
tbe  American  Tract  Society  ar.d  the  Presby- 
terian Board  of  Publication.  During  the  latter 
part  of  life  he  wrote  his  "  Forty  Choirs," 
which  had  an  extensive  circulation,  and  re- 
vised his  work  on  musical  taste.  His  poetical 
abilities  were  considerable,  and  he  wrote 
nearly  six  hundred  hymns,  many  of  which 
have  come  to  be  classed  as  standards  in  church 
1  loetry.  He  was  also  a  fine  tenor  singer.  His 
death  occurred  May  15,  1872,  and  was  the 
ending  of  an  eminently  useful  career. 

Haiick,  Minnie,  was  bom  Nov.  16, 
1852,  at  New  York.  Her  father,  as  the  name 
indicates,  was  a  German,  but  her  mother  was 
an  American  lady.  Her  first  public  appearance 
was  at  a  benefit  concert  in  New  Orleans  in  1865. 
She  studied  with  Sig.  Errani  at  New  York, 
and  in  1S6S  made  her  djlmt  on  the  stage  as 
Aminii  in  "Sonnambula,"under  the  care  of  Max 
Maretzek.  Aftersinging  in  the  principal  cities 
of  this  country  she  visited  England  and  appeared 
at  Covent  Garden,  Oct.  26,  186S,  in  the  same 
/,'//.  hater,  she  sang  in  Paris,  at  the  Grand 
Opera,  Vienna,  and  subsequently  at  Moscow, 
Berlin  and  Brussels,  everywhere   with  almost 


phenomenal  success.  In  March,  1S76,  she- 
sang  at  the  Hungarian  National  Theatre, 
Pesth,  before  Wagner,  assuming  the  rdles  of 
Elsa  in  "Lohengrin"  and  Senla  in  "The 
Flying  Dutchman"  to  that  composer's  sat 
isfaction.  Meanwhile  she  filled  an  engage- 
ment of  several  years  at  the  Imperial  Opera, 
Vienna.  In  1S77  she  sang  at  Berlin  with  such 
success  that  the  Emperor  of  Germany  con- 
ferred on  her  the  title  of  "Imperial  German 
Chamber  Singer,"  an  honor  shared  only  by 
Patti  and  Lucca.  Jan.  2,  187S,  at  Brussels, 
she  created  her  celebrated  rdle  of  Carmen,  in 
which  she  has  never  been  equaled.  She  re- 
turned to  her  native  country  in  the  autumn  of 
the  same  year,  and  achieved  great  triumphs 
in  the  leading  cities.  In  18S0  she  sang  again 
in  London.  The  following  year  she  was  mar- 
ried to  Ernst  von  Hesse- Wartegg,  a  literary 
gentleman  of  Vienna,  we  believe,  but  still 
retains  her  own  name  upon  the  stage.  Her 
voice  is  a  mezzo-soprano  of  great  force  and 
richness,  and  her  use  of  it  proclaims  her  to  be 
a  true  artist.  She  sings  with  facility  in  Ital- 
ian, German,  French  and  Hungarian,  and  is 
well  versed  in  literature  and  the  fine  arts. 

Hays,  William  Shakspeare,  one  of 
America's  most  famous  song  writers,  was  born 
July  19,  1837,  at  Louisville,  Ky.  He  evi- 
denced his  love  of  music  when  a  boy  by  learn- 
ing to  play  several  musical  instruments.  In 
1856  he  began  his  career  as  a  song  writer. 
His  first  song  of  any  consequence  was  "  Evan- 
geline," published  by  Silas  Brainard,  Cleve- 
land, Ohio,  which  had  a  large  sale.  It  was 
followed  by  others,  among  which  were  "Wan- 
dering Refugee,"  "  Lone  Grave  by  the  Sea," 
"Drummer  Boy  of  Shiloh,"  and  "My  South- 
ern Sunny  Home,"  all  of  which  were  more 
or  less  successful.  Thus  far  Mr.  Hays  had 
written  more  for  pleasure  and  amusement  than 
anything  else,  and  the  publishers  pocketed  all 
the  profits,  which  was  no  doubt  very  agreea- 
ble to  them.  During  the  war,  however,  he 
corresponded  with  several  of  the  leading  music 
publishing  firms  of  the  country  to  ascertain 
what  inducement  they  would  offer  him.  The 
replies  were  so  discouraging  that  he  resolved 
never  to  let  another  of  his  songs  appear  in 
print.  Some  time  after  this  he  met  John  L. 
Peters,  music-publisher,  Cincinnati,  Ohio, 
(subsequently  of  New  York),  who  offered  him 
S25    each    for   one  or   two  of  his   songs.      An 


74 


HANDBOOK    OF   AMERICAN   MUSIC   AND   MUSICIANS. 


:ls  entered  into  whore 
L  all. of. his  songs.  H 
Mr.  Peters  for  man 
tempting   offers  fror 


agreement  was  afterwai 
l>y  Mr.  Peters  publish© 
continued  to  write  for 
years,  though  receiving 
other  publishers. 

The  number  of  Mr.  Hays'  songs  is  some- 
thing like  300.  To  the  most  of  these  he  wrote 
the  words  as  well  as  the  music.  Some  of  the 
more  popular  of  his  productions  of  which  we 
have  the  name  and  number  of  copies  sold  are 
as  follows  :  "  Write  me  a  Letter  from  Home  " 
(350,000),  "We  Paited  by  the  River  Side" 
(300,000),  "Driven  from  Home"  (300,000), 
"Nora O'Neal  "(250,000), "Shamus  O'Brien" 
(200,000),  "Mollie  Darling"  (150,000), 
"You've  Been  a  Friend  to  Me"  (60,000, 
"  The  Moon  is  out  Tonight,  Love  "  (60,000), 
"  Katy  McFerran "  (60,000),  "I'm  Still  a 
Friend  to  You"  (50,000),  "Mistress  Jenks 
of  Madison  Square  "  (40,000).  As  these  fig- 
ures were  made  several  years  ago  they  have 
since  been  considerably  increased — for  some 
of  the  songs  still  have  a  fair  sale.     The   total 


Heath,  W.  F.,  was  born  at  Corinth,  Vt, 
June  11,  1S43.  Early  in  life  all  his  spare 
ime  was  devoted  to  the  study  of  music.  Dur- 
ng  the  Civil  War  he  was  leader  of  an  Illinois 
regimental  band,  which  headed  the  proces- 
sion at  President  Lincoln's  funeral.  He  sub- 
sequently studied  under  the  best  teachers  in 
Boston.  After  idling  the  positions  of  teacher 
of  music  in  the  normal  school  at  Iowa  City 
and  in  the  public  schools  of  Marengo,  Iowa, 
he  accepted  a  similar  position  at  Fort  Wayne, 
Ind.,  which  he  has  tilled  for  thirteen  years. 
He  has  prepared  several  works  for  use  in  pub- 
lic schools,  among  which  is  "  Heath's  Com- 
mon-School Music  Readers.';  He  was  for 
three  years  secretary  and  treasurer  of  the 
Music  Teachers'  National  Association. 

Heimiiig-es,  Dora,  was  born  Aug.  2, 
1S60,  at  Cleveland,  Ohio,  where  her  father  is 
a  resident  physician.  She  evidenced  not  only 
a  great  love  of  music  but  more  than  ordinary 
vocal  powers  at  an  early  age.  After  some  ob- 
jections   on    the  part    of    her  father,    she    was 


mber  of  copies  sold  of  all  Mr.  Hays'  songs    Permitted  to  commence  studying  for  a  singer 

'    '  Her    first    lessons    were    received 


must  be  several  millions.  Their  extraordinary 
popularity  is  due  to  charming  melodies,  easy 
and  effective  accompaniments,  and  a  genuine 
feeling.  They  were  written  for  the  masses 
and  by  the  masses  appreciated.  Mr.  Hays  has 
a  wife  and  one  child,  and  resides  at  Louisville, 
which  has  always  been  his  home.  He  has  for 
more  than  twenty-five  years  been  engaged  in 
editorial  work,  and  is  now  connected  with  the 
Louisville  Courier- Journal. 

Hayter,  A.  U.,  was  born  Dec.  16,  170,9, 
at  Cillingham,  England.  He  was  instructed 
in  music  by  Mr.  Corfe,  organist  of  Salisbury 
Cathedra],  whom  he  afterwards  succeeded,  re- 
taining the  post  several  years,  lie  then  be- 
came organist  of  Hereford  Cathedral.  In 
1.S35  he  came  to  this  country,  and  was  ap- 
pointed organist  of  Grace  Church,  New  York. 
Soon  after  he  went  to  Boston  and  became 
organist  of  Trinity  Church,  which  position  he 
held  for  a  quarter  of  a  century.  From  1838 
to  1S49  he  was  also  organist  of  the  Handel 
and  Haydn  Society.  In  1862  he  received 
a  stroke  of  paralysis  from  which  he  never 
fully  recovered,  and   died   at  Boston,  July  28, 

1873.     His  son,  George  F.  Hayter,  is  an 

able  musician,  and  was  for  some  time  organist 
of  the  Handel  and  Haydn  Society. 


first 

Mees  of  her  native  city, 
ively  studied  under  Sig. 
fanoin   at   Cincinnati,    Ms 


of    Arthur 
She   then  success- 
Villa  and   Sig.   Stef- 
^    Maretzek  of  New 


in  singers. 
mezzo-soprr.no. 
was    born    Feb.     18, 
le  ai>- 


York,  and  Mine.  La  Grange  of  Paris.  During 
much  of  this  time  she  sang  at  concerts  and 
oratorios.  She  made  her  operatic  ,.','/'///  as 
Lenom  in  "Fidelio"  at  the  Cincinnati  Opera 
Festival.  She  has  sung  much  both  in  the 
East  and  West  and  already  gained  considera- 
ble reputation.  If  her  life  is  spared  she  will 
take  a  front  rank  among  Americ 
Her  voice  is  a  fine,  cle; 

Hensehel,  Geor< 

1850,  at  Breslau.  When  twelve  years  old  h 
peared  in  public  as  a  pianist,  and  in  1867  en- 
tered the  Conservatorium  atLeipsic,  where  lie 
studied  under  Moscheles,  Richter,  and  Gotze. 
In  1870  he  went  to  Berlin  and  placed  himself 
under  the  care  of  Kiel,  with  whom  he  studied 
composition,  and  Schulze,  with  whom  he 
studied  the  art  of  singing.  His  voice  developed 
into  a  baritone  of  great  force  and  richness. 
He  speedily  achieved  such  fame  as  a  singer 
that  his  services  were  requested  in  various 
parts  of  Europe.  In  1877  be  went  to  England, 
where  he  met  with  great  success  and  where  he 
decided  to  locate.  In  1SS0  he  came  to  this 
country  on  a  visit,  and  soon  after  married  Miss 


DICTIONARY    OF    AMERICAN   MUSIC   AND    MUSICIANS. 


Lillian  Bailey.  He  was  offered  various  engage- 
ments in  Boston,  where  he  is  still  (November, 
1SS2)  staying,  but  whether  he  will  make  this 
country  his  future  home  or  not  is  unknown. 
His  compositions  are  (juite  numerous,  and  in- 
clude a  number  of  tine  songs  and  orchestral 
pieces.  He  has  also  set  the  130th  psalm  for 
solos,  chorus,  and  orchestra  (op.  30). 

Mill,  Uriah  C,  was  born  in  Creenwich 
street,  New  York,  about  1802.  He  learned 
the  violin  at  an  early  age,  and  while  a  young 
man  played  in  different  orchestras.  In  1S36 
be  went  to  Germany  and  studied  under  Spohr 
at  Cassel  for  some  time.  He  was  conductor 
of  the  Sacred-Music  Society,  New  York,  for 
some  time,  and  the  moving  spirit  in  the  forma- 
tion of  the  Philharmonic  Society  in  1842.  He 
invented  a  kind  of  piano  (which  he  claimed 
would  never  get  out  of  tune)  in  which  small 
bells  were  substituted  for  wires.  This  he  ex- 
hibited in  New  York  and  then  in  London. 
Afterwards,  he  resided  in  Cincinnati  for  sev- 
eral years.  On  his  return  East  he  settled  at 
Patterson,  N.  J.,  and  invested  in  real  estate, 
but  it  proved  an  unfortunate  venture.  This 
with  numerous  other  disappointments  com- 
pletely crushed  him,  and  he  took  his  own  life 
in  September,  1875.  Hill  was  not  a  remark- 
able musician,  but  his  enthusiasm  and  devotion 
gave  him  success  where  others  of  greater 
ability  might  have  failed,  and  his  sad  end  is  to 
be  greatly  regretted. 

Hiltz-Grleason,  Mrs.  Grace,  was  born 
about  1S54,  on  the  banks  of  the  Kennebec, 
near  Portland,  Maine,  and  while  still  quite 
young  was  taken  by  her  mother  to  Providence, 
R.  I.,  to  be  educated.  There  she  pursued  her 
studies  for  nine  years,  and  in  1S72  went  to 
Chicago,  accompanied  by  her  mother.  For 
the  study  of  singing  she  placed  herself  under 
the  care  of  Mrs.  Sara  Hershey-Eddy,  with 
whom  she  remained  four  years.  She  then 
went  to  Boston  and  received  instruction  from 
George  L.  Osgood,  Charles  R.  Adams,  Julius 
Jardan,  and  Georg  Henschel.  She  continued 
her  studies  at  Boston  for  nearly  two  years,  and 
during  a  portion  of  the  time  sang  in  the  Union 
( 'ongregationalist  Church,  Providence,  R.  I., 
at  a  salary  of  $1,000  a  year,  also  filling  manv 
concert  engagements.  In  187S  she  was  mar- 
ried to  Frederic  Grant  Gleason,  the  well- 
known  teacher  and  composer.  After  singing 
the  soprano  solo   in    Verdi's   "  Requiem,"   at 


the  Worcester  Festival,  she  went  to  Paris  to 
complete  her  studies,  receiving  lessons  from 
Mme.  Viardot-Garcia,  Mine.  La  Grange,  and 
Sig.  Sbrilgia.  She  sang  in  public  several 
times  with  good  success.  Proceeding  to  Lon- 
don she  filled  several  engagements  as  a  con- 
cert singer,  ami  received  a  flattering  offer  to 
make  a  tour  of  the  English  provinces.  This 
she  was  obliged  to  decline,  as  she  had  already 
been  secured  for  the  second  Heimendahl 
Symphony  Concert  at  Chicago,  Dec.  19,  1882, 
where  she  made  her  re-appearance  and  was 
received  with  the  warmest  tokens  of  apprecia- 
tion. Her  voice  is  a  pure,  rich  soprano,  of 
great  range  and  flexibility,  and  her  enuncia- 
tion nearly  perfect.  As  an  interpreter  of 
Franz's,  Schumann's,  and  Schubert's  songs 
she  has  few  equals  in  this  country. 

Holimail,  Richard  H.,  was  born  in 
Manchester,  England,  May  24,  1831,  and  re- 
ceived his  early  musical  instruction  from  his 
father,  a  pupil  of  Kalkbrenner  and  Hummel. 
Later,  he  studied  under  Pleyel,  Moscheles, 
Rubinstein,  Dohler,  Thalberg,  and  Liszt.  In 
1847  he  came  to  New  York,  where  he  made  his 
dt'lntl  at  the  "  Tabernacle,"  playing  Thalberg's 
"Sonnambula"  and  De  Meyer's  "Semiramide" 
in  a   manner  that   called   forth    the    praise   of 

'  every  one.  Shortly  after  he  pla  yed  at  a  concert 
of  the  Philharmonic  Society,  and  in  1848  un- 

|  dertook  a  concert  tour  with  Burke  the  violinist, 
traveling  all  over  this  country  and  Canada. 
He  was  soloist  of  the  first  series  of  the  Jenny 
Lind  concerts.  In  1854  he  was  elected  hon- 
orary member  of  the  Philharmonic  Society, 
New  York,  and  has  frequently  appeared  at  its 
concerts.  After  this  he  settled  in  New  York  as 
ateacber  and  composer  and  has  been  very  suc- 
cessful. When  von  Bulow  came  to  the  United 
States  in  1875  he  again  appeared  in  public 
and  played  several  duos  with  him.  In  January, 
1879,  he  performed  Brahm's  concert  (op.  10) 
at  Chickering  Hall — the  first  time  it  was  heard 
in  this  country.  He  rarely  ever  appears  in 
public  except  at  the  Philharmonic  concerts. 
Mr.  Hoffman's  works  arc  quite  numerous, 
and  almost  exclusively  for  the  piano.  Many 
of  them  are  published  in  Germany  and  Eng- 
land, and  have  become  very  popular.  As  a 
player  he  has  great  command  of  his  instrument, 
a  remarkably  brilliant  but  exquisitely  clear  ex- 
ecution, and  a  pure  style,  which  charms  all 
his    bearers.      As  a  teacher    he    is   highly   es- 


7(< 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


teemed,  not  only  for  his  abilities  but  also  for 
his  gentlemanly  qualities.  He  is  still  (Novem- 
ber, 1885)  locatefl  in  New  York. 

Edward,  brother  of  the  preceding,  is  the 
writer  of  many  .popular  piano  pieces,  which 
have  hail  a  wide  circulation. 

HollUStOCk,  KARL,  was  born  in  182S,  I 
in  Brunswick,  Germany.  After  giving  con- 
certs with  goo  I  success  in  the  principal  Euro- 
pean countries,  he  came  to  the  United  States  in 
1848,  gave  concerts  in  Boston  an  J  other  cities,  > 
and  finally  settled  in  Philadelphia  as  pianist, 
violinist,  and  teacher.  His  sister,  ADELAIDE, 
also  born  at  Brunswick,  accompanied  him  on 
his  concert  tours,  and  resided  with  him  at 
Philadelphia  until  her  death,  which  occurred 
in  Januaiy,  1856.     She  was  a  line  pianist. 

Hol<U>u,  Oliver,  an  American  psal- 
modist,  was  born  in  1765,  probably  at  Charles- 
town,  Mass.,  where  he  resided.  He  was  a 
carpenter  by  trade,  but  devoted  much  of  his 
time  to  music,  and  opened  a  book  and  music 
store.  In  1793  he  published  his  first  collec- 
tion, "  The  American  Harmony,"  consisting 
of  tunes  arranged  for  three  and  four  parts,  the 
most  of  which  were  original.  Soon  after  he 
published  "  Union  Harmony,  or  a  Universal 
Collection  of  Sacred  Music,"  and  in  1795 
associated  himself  with  Hans  Gram  and  Sam- 
uel Holyoke.  Together  they  produced  "  The 
Massachusetts  Compiler."  In  1797  he  was 
engaged  by  Isaiah  Thomas  of  Worcester, 
Mass.,  to  edit  the  "Worcester  Collection  of 
Sacred  Harmony,"  of  which  several  editions 
were  issued.  During  the  latter  part  (if  his 
life  he  taught  and  composed  very  little,  but 
retained  his  love  for  music.  His  tunes  were 
very  popular  in  their  day,  and  some  of  them 
are  still  so.  "Coronation"  alone  will  per- 
petuate his  name  to  the  end  of  time.  He 
died,  according  to  "Moore's  Encyclopaedia  of 
Music,''  at  Charlestown  in  1S31,  though  some 
writers  give  1834  as  the  date. 

Hook   (E.   &  G.  G.)  «fc  Hastings.— 

This  church  (pipe)  organ  building  firm  of 
Boston  is  one  of  the  leading  ones  in  America, 
and  ranks  among  the  oldest  and  best  in  the 
world.  It  was  founded  by  the  brothers  Hook 
in  1827.  In  1855  Mr.  F.  H.  Hastings  was 
first  engaged  with  them,  and  now  succeeds 
them.  Mr.  George  G.  Hook  died  in  1880, 
aged  73  years,  and  his  brother,  Elias,  the  fol- 
lowing   year,    aged    76.     By  exercising    dilli- 


gence  ami  turning  out  only  the  best  work,  they 
built  up  a  large  trade,  that  now  requires  an 
extensive  manufactory,  which  is  fitted  with 
every  convenience  for  turning  out  large  or 
small  organs.  Each  department  is  under  the 
supervision  of  an  expert,  who  employs  only 
the  most  skilled  workmen.  The  firm  pos- 
sesses and  applies  all  improvements  of  worth, 
being  in  constant  communication  with  emi- 
nent foreign  builders,  and  is  an  institution  of 
which  Americans  may  well  be  proud.  Mr. 
Hastings,  who  now  carries  on  the  business, 
lias  been  over  thirty  years  an  organ  builder, 
and  to  his  energy,  enterprise  and  skill  the 
establishment  owes  much  of  its  rapid  growth 
and  prosperity.  He  became  a  partner  of  the 
Messrs.  I  look  in  1S65,  and  from  that  time 
was  the  active  manager.  Up  to  the  present 
time  the  old  firm  name  (Hook  <X:  Hastings) 
has  been  retained,  which  has  become  so  well 
known  in  this  country  and  Europe.  The  man- 
ufactory is  one  of  the  objective  points  toward 
which  music-loving  persons  visiting  Boston 
gravitate,  as  visitors  are  always  cordially  wel- 
comed. 

Up  to  1S55,  the  Messrs.  Hook  had  built  170 
organs.  Since  then  (March,  1886)  this  num- 
ber has  been  increased  to  over  [,300.  During 
the  years  1882,  1883  and  18S4,  the  number  of 
instruments  turned  out  was  respectively  63,  67 
and  53.  Among  those  more  celebrated,  and 
which  are  equal  to  any  in  point  of  excellence 
and  finish,  are  the  following  ones: 

1.  The  organ  in  the  Music  Hall,  Cincinnati, 
built  in  187S,  which  is  one  of  the  very  Iargesl 
in  this  country  as  well  as  in  the  world.  Its 
dimensions  are:  Width,  47  feet;  depth,  30 
feet ;   hight,    70    feet.      It  has    4    manuals,   96 

follows: 

Pipes. 
2,282 

t,7<  iS 

1,281 

366 

600 

and  14  mechanical  slops. 
re  12  pedal  movements,  a 
al,  by  which  the  performer 
may  gradually  bring  into  play  the  whole  power 
of  the  instrument,  and  a  carillon  of  30  bells. 
Its  cost  was  upwards  of  $32,000. 

2.  The  organ  in  Tremont  Temple,  Boston> 
erected  in  1880.  It  has  4  manuals,  65  stops, 
and  3,442  pipes,  beside    10  pedal  movements, 


>ps,  and  6,237  p 

ipes, 

divide 

Stops 

Great  organ, 

22 

Swell     " 

*9 

Choir     " 

'7 

Solo         " 

0 

l'edal      " 

K. 

In  addition,  there 
grand  crescendo  p< 


HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


77 


including  a  grand  crescendo,  like  that  in  the 
Music  Hall  organ,  Cincinnati.  In  size  it  is 
excelled  by  several  orga.is  in  this  country,  but 
in  artistic  completeness  and  perfection  it  is 
second  to  none. 

3.  The  Centennial  organ,  which  was  seen 
and  admired  by  many  who  visited  Philadel- 
phia in  1876.  Its  dimensions  are  :  Width, 
32  feet;  depth,  21  feet;  bight,  40  feet.  It 
has  4  manuals,  59  stops  and  2,704  pipes. 

4.  The  organ  in  the  Cathedral  of  Holy 
Cross,  Boston,  which  was  erected  in  1875. 
This  is  probably  one  of  the  largest  church  or- 
gans in  this  country.  It  has  3  manuals,  83 
stops  and  5,294  pipes,  and  is  a  marvel  of  work- 
manship. 

Hopkins,  Jerome,  born  April  4,  1836, 
at  Burlington,  Vt.,  early  took  up  the  study  of 
music,  and  at  the  age  of  twelve  years  became 
organist.  After  awhile,  he  settled  in  New 
York,  as  pianist,  composer,  and  teacher.  He 
was  for  some  time  the  editor  of  the  "Philhar- 
monic Journal."  His  works  are  numerous 
and  comprise  church  pieces,  songs,  piano 
pieces,  fugues,  and  orchestral  and  choral 
pieces. 

Holyoke,  Samuel,  A.  M.,  was  born   in 

1771,  at  Boxford,  Mass.  His  father,  Dr.  Hol- 
yoke, soon  after  removed  to  Salem,  in  the  same 
state.  In  1791  his  first  collection  of  music 
was  issued,  under  the  name  of  Harmonica 
Americana.  It  was  printed  at  Boston, 
from  type,  by  Isaiah  Thomas  and  E.  T.  An- 
drews, and  sold  by  subscription.  All  "fugue" 
tunes,  then  very  popular,  were  omitted,  as 
being  little  suited  to  public  worship.  In 
1806  he  published  at  Exeter,  N.  II.,  the  first 
volume  of  the  "  Instrumental  Assistant,"  a 
quarto  of  80  pages,  and  in  1807,  the  second 
volume,  104  pages.  The  two  volumes  contain 
about  200  pieces  arranged  for  various  instru- 
ments. "The  Columbian  Repository  of  Sa- 
cred Harmony"  appeared  in  1809,  a  very  vo- 
luminous work,  containing  472  pages  and  750 
pieces  of  music.  It  was  also  published  by 
subscription,  the  price  per  copy  being  three 
dollars.  He  was  associated  with  0.  H olden 
and  Hans  Gram  in  editing  The  Massachu- 
setts  Compiler  (1795),  and  at  the  time  of 
his  death  was  preparing  a  third  volume  of 
instrumental  music.  He  was  extensively 
known  as  a  teacher,  and  highly  esteemed  by 
nil  who  knew  him.      His   death    took   place  at 


Concord,  N.  H.,  in  the  spring  of  1816,  being 
produced  by  congestion  of  the  lungs.  He 
ranks  among  the  foremost  of  early  American 
composers.  His  tune  "Arnheim"  is  still 
sung. 

Howard,  Frank,  whose  real  name  is 
Delos  Gardiner  Spalding,  was  bom  in 
1833,  at  Athens,  Pa.  He  was  a  self-taught 
performer  on  several  instruments.  He  led  a 
roving  and  rather  irregular  life  for  some  time, 
but  in  1853  settled  in  Chicago.  His  claim  to 
mention  is  as  the  composer  of  over  100  songs, 
many  of  which  have  become  quite  popular, 
though  not  of  very  high  order. 

Hutchinson    Family.    A  family  of 

natural  musicians,  natives  of  Milford,  New 
Hampshire,  and  well-known  both  in  this 
country  and  England.  Four  of  the  brothers, 
born  from  18 18  to  1828,  were  noted  as  tem- 
perance and  anti-slavery  singers,  from  1846 
to  1S58.  After  awhile  they  became  separated, 
and  are  now  represented  by  John  and  Asa 
with  their  families. 

Hutchings,  Plaisted  &  Co.,  Bos- 
ton. This  firm,  which  has  gained  considera- 
ble reputation  for  its  church  organs,  was 
founded  in  the  fall  of  1869,  by  the  late  Dr.  J. 
H.  Willcox,  George  S.  Hutchings,  Mark  H. 
Plaisted,  and  G.  V.  Nordstrom.  These  four 
gentlemen  were  previously  connected  with  the 
house  of  Hook  &  Hastings,  Dr.  Willcox  as 
chief  of  the  musical  department,  Mr.  Hutch- 
ings as  superintendent,  and  the  other  two  as 
heads  of  different  departments.  The  firm  name 
was  at  first  "J.  H. Willcox  &  Co,"  which,  upon 
the  retirement  of  Dr.  Willcox,  in  1872,  was 
changed  to  Hutchings,  Plaisted  &  Co.,  the 
present  name.  In  1873  Mr.  Nordstrom  re- 
tired from  the  firm,  and  his  place  was  filled 
by  C.  H.  Preston.  Mr.  Preston  dying  in  1876, 
Mr.  Hutchings  and  Mr.  Plaisted  are  now  the 
only  members  of  the  house.  The  firm  has 
constructed  upwards  of  150  organs,  mostly  for 
use  in  this  country.  Instruments  of  their 
make  may  be  found  in  the  following  places  : 
Congregational  Church,  La  Crosse,  Wis.; 
First  Baptist  Church,  Jackson,  Mich.;  Me- 
chanic's Hall,  Salem,  Mass.  ;  St.  Peter's 
Church  (Catholic),  Philadelphia  ;  Presbyter- 
ian Church,  Wheeling,  West  Va.  ;  Christ 
Church,  Baltimore,  Md.;  Methodist  Episco- 
pal Church,  Maiden,  Mass.  ;  Baptist  Church, 
Windsor,    N.    S.  ;    Christ    Church.    Houston, 


7  8 


DICTIONARY    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Texas  ;  Old  South  Church,  Bostcn  (64  regi:.-  registers).  The  business  is  now  (January 
ters)  ;  Hebrew  Chapel,  New  Orleans;  All  1886)  carried  on  by  Geo.  S.  Hutchings,  as 
Saints  Church,  Worcester,  Mass.;  and  Church    successor  to  Hutchings,  Plaisted  iV  Co, 

of  Immaculate  Conception,  Lowell,    Mass.  (52  1 


I. 


IngallS,  JEREMIAH,  American  psalmo- 
dist,  was  born  March  1,  1764,  at  Andover, 
Mass.  He  was  mainly  self-taught  in  music, 
and  became  a  fair  performer  on  the  violon- 
cello. For  many  years  lie  taught  music  in 
Massachusetts,  New  Hampshire  and  Vermont. 
In  1S05  he  published  at  Exeter,  N.  II.,  "The 
Christian  Harmony,"  a  volume  of  200  pages. 
He  married  and  settled  at  Newberry  Vt., 
removed  to  Rochester,  in  1S10,  and  finally  to 
Hancock,  where  he  died  April  6,  1S28.  Some 
of  his  church  tunes  are  s'ill  in  general  use, 
those  of  "Kentucky"  and  "Northlield"  being 
familiar  to  almost  every  church   singer. 

Institute  of  Music,  Normal.    An 

institution  of  purely  American  origin  and 
character.  Its  aim  is,  primarily,  the  prepara- 
tion of  persons  desiring  to  teach  music  for 
that  profession  and  the  improvement  of  teach- 
ers already  in  the  work,  and,  secondarily,  the 
advancement  of  musical  students  in  general  in 
the  science  of  music  and  the  cultivation  of 
musical  taste  and  judgment.  An  Institute 
generally  holds  four  weeks,  during  the  sum- 
mer vacation,  lessons  in  harmony,  voice-cul- 
ture, composition,  vocal  practice,  etc.,  being 
given    daily.     Instruction    is    imparted    by    a 


I  corps  of  from  three  to  live  teachers,  each 
!  specialists  in  their  own  departments.  A  series 
of  piano  recitals  is  always  given  by  some 
J  eminent  pianist,  the  programs  consisting  of 
both  classical  and  romantic  music.  Vocal 
recitals  are  also  sometimes  given.  The  price 
of  membership  in  an  Institute,  which  is  gen- 
erally Sio,  places  it  within  the  reach  of  every- 
one. This  is  exclusive  of  board,  which  will 
cost  from  $4  to  36  per  week.  As  it  is  held 
during  the  season  of  the  year  that  teachers 
j  and  students  are  most  at  leisure,  it  offers  them 
a  good  opportunity  for  advancement  in  music. 
!  The  first  normal  institute  of  music  was  pro- 
i  jected  by  Dr.  George  F.  Root,  ami  held  in 
New  York  City  in  1852.  Its  faculty 
consisted  of  Dr.  Lowell  Mason,  Thomas  Has- 
tings, Win.  B.  Bradbury,  and  Dr.  Root.  For 
some  years  Dr.  Root's  was  the  only  Normal 
Institute  held.  Other  teachers,  however,  soon 
began  to  hold  Institutes,  largely  modelled  on 
the  same  plan,  and  they  are  now  held  in 
almost  every  part  of  the  country.  Among  the 
best  Institutes  are  those  held  by  Dr.  Root, 
Dr.  H.  R.  Palmer,  L.  0.  Emerson,  H.  S.  and 
W.  O.  Perkins,  etc.  The  importance  of  these 
Institutes  as  a  factor  in  the  cultivation  and  im- 
provement of  musical  taste  is  considerable. 


J. 


Jackson,  SAMUEL,  was  born  in  New 
York,  Feb.  25,  1818.  Mis  father,  James  Jack- 
sou,  an  Englishman  by  birth,  was  an  organ 
builder,  and  at  the  same  trade  he  worked 
until  of  age.  Meanwhile,  he  studied  music 
with  Moran,  Thornton  and  Lozier,  well-known 
teachers  in  their  da)',  and  was  considered  a 
precocious  youth.  He  was,  at  different 
periods,  organist  of  St.  Bartholomew's,  Church 
of  the  Ascension,  and  Christ  Church.  His 
career  of  forty-five  years  as  organist  termin- 
ated at  the  Anthon  Memorial  Church  in  1875. 
As  a  teacher  he  was  very  successful.  Of  his 
pupils  may  be  mentioned  Wm.  K.  Bassford, 
the  eminent  song  compose1-.  For  twenty-nine 
years  he  proof-read  every  piece  of  music  is- 
sued by  G.  Schirmer,  the  music -publisher. 
He  died  at  his  home  in  Brooklyn,  July  27, 
1885,  leaving  a  family  of  four  children,  two 
sons  and  two  daughters.  His  compositions 
number  several  hundred  (besides  many  ar- 
rangements from  other  composers)  and  main- 
ly consist  of  church  pieces  and  services  and 
organ  pieces.  He  also  wrote  a  dictionary  of 
musical  terms.  He  was  an  organist  of  sterling 
qualities,  a  sound  and  acute  theorist, 
and  a  conscientious  and  eminently  successful 
teacher. 

tTaCObsollll,  S.  E.,  violinist,  was  bom  at 
Mitan,  Russia,  in  1839.  His  father  dying 
■when  he  was  young,  he  was  compelled  to  aid 
in  supporting  the  family  by  playing  the  violin 
and  other  instruments  at  balls  and  parties. 
This  state  of  things  continued  until  he  was 
fifteen  years  old,  when,  through  the  efforts  of 
some  friends,  he  was  enabled  to  go  to  Riga, 
where  he  studied  under  Weller,  making  rapid 
progress.  Four  years  later  he  was  similarly 
enabled  to  go  to  Leipsic,  where  he  entered  the 
Conservatorium  and  had  the  benefit  of  David's 
instruction.  He  played  at  the  Gewandhaus 
concerts  and  soon  achieved  a  reputation  that 
brought  him  invitations  to  play  from  various 
quarters.  At  the  end  of  a  year,  however,  he 
returned  to  Mitan  and  gave  concerts  in  West- 
ern Russia  with  great  success.  About  i860 
he    accepted  the  position  of  concertmeister  at 


Bremen,  Germany,  where  he  remained  twelve 
years,  meanwhile  playing  at  the  Gewandhaus 
and  other  concerts.  In  September,  1872,  he 
came  to  this  country  and  was  engaged  by 
Theodore  Thomas  as  concertmeister  and  soloist 
in  his  orchestra.  In  this  capacity  he  traveled 
all  over  the  United  States  and  was  well  re- 
ceived. In  1878  he  was  engaged  as  professor 
of  the  violin  at  the  College  of  Music,  Cincin- 
nati, a  position  which  he  held  some  four 
years.  Since  leaving  the  College  he  has  es- 
tablished a  violin  school  of  his  own.  Mr. 
Jacobsohn  possesses  a  great  command  of  his 
instrument,  good  taste,  and  an  excellent  style. 

Jardine,  George  &  Son.  George 
Jardine,  the  head  of  this  firm  of  church  organ 
builders,  located  in  New  York  City,  was  born 
at  Dartford,  England,  Nov.  1,  1S01.  He 
learned  his  business  with  the  famous  London 
firm  of  Flight  ik.  Robson,  who  were  then  con- 
sidered the  first  organ  builders  in  England. 
Young  George  went  to  his  work  in  a  thorough 
and  systematic  manner,  and  having  a  natural 
taste  for  drawing,  he  studied  architecture  in 
all  its  various  details  under  competent  mas- 
ters. Many  of  the  most  beautiful  organ  cases 
to  be  found  in  this  country  are  the  emanations 
of  his  active  brain.  He  came  to  this  country 
in  1837,  bringing  his  wife  and  five  children, 
and  also  his  nephew,  F.  W.  Jardine,  now  of 
Manchester,  England,  who,  after  learning  the 
business  of  manufacturing  organs  with  his 
uncle,  returned  to  England  and  entered  into 
partnership  with  Mr.  Kirtland,  in  Manchester. 

The  year  Mr.  Jardine  landed  in  New  York 
was  a  time  of  great  financial  crisis.  Instead 
of  finding  churches  ready  and  anxious  to  pur- 
chase organs,  he  found  it  rather  haul  work  to 
find  bread  for  his  family,  and  for  the  first  two 
years  after  his  arrival  he  was  obliged  to  turn 
his  hand  to  various  other  employments  to 
keep  the  "wolf  from  the  door."  The  oppor- 
tunity to  return  to  his  business  came  at  last. 
lie  succeeded  in  obtaining  an  order  to  build 
a  small  organ  for  the  church  of  St.  James, 
New  York,  which  marked  the  beginning  of 
his    prosperous    career.      His  workshop    was 


So 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


originally   i 

he    lived,     i 
street,  with 


i  the  attic  of  the  house  in  which 
orner  of  Broadway  and  (hand 
one    or   two    workmen  at  must  in 


his  employ.  Business  increasing  from  year  to 
year,  his  factory  became  more  pretentious, 
until  the  present  large  building  was  erected, 
which  furnishes  employment  for  between  50 
and  60  skilled  workmen.  In  the  year  i860, 
Mr.  Jardine  took  into  partnership  his  eldest 
son,  E.  G.  Jardine,  who,  like  his  father,  had 
early  evinced  a  desire  to  become  an  organ 
builder,  and  was  accordingly  instructed  in  the 
art.  Father  and  son  both  work  at  their  art, 
and  frequently  travel  to  Europe,  keeping 
themselves  well  posted  on  all  the  latest  im- 
provements made  abroad. 

The  following  is  a  partial  list  of  the  largest  1 
and  finest  organs  built  by  Messrs.  Jardine 
&   Son  : 

Fifth  Avenue  Cathedral,  New  York,  -  4 
St.  George's  Church,  "  -  -     4 

St.  Paul's   M.  E.  Church,       "  -         4 

Holy  Innocents  "  "  -  -     4 

Brooklyn  Tabernacle,    -  4 

Pittsburgh  Cathedral,  -  -  -  -     4  | 

Mobile  Cathedral,  3 

First  Pres.  Church,  Philadelphia,       -  -     3 

St.  John's  M.  E.  Church,  Brooklyn,  -  3 
Trinity  Church,  San  Francisco,  -  -     3 

Christ  Church,   New  Orleans,  -         -         3 

»Tarvis,  Charles  H.,  pianist,  was  born 
at  Philadelphia,  Dec.  20,  1837,  and  received 
his  musical  education  from  his  father,  an  ex- 
cellent musician.  He  has  done  much  to 
raise  the  standard  of  music  in  his  native  city, 
and  since  1862  has  given  an  annual  series  of 
classical  chamber  concerts.  He  played 
Beethoven's  concerto  in  G  at  a  concert  of  the 
Philharmonic  Society,  New  York,  in  1869, 
and  has  appeared  at  various  places  as  soloist. 


»T«'illvS,   Stephen,  American  psalmodist, 

was  born  in  1772,  at  New  Canaan,  Conn.  In 
1S05  he  published  "The  Delights  of  Harmo- 
ny," containing  96  pages  of  tunes,  hymns, 
anthems,  and  set  pieces,  twenty-six  of  which 
were  original  and  the  rest  selected.  He  after- 
wards removed  to  Thompson,  Ohio,  where  he 
died  in  1856.  Some  of  his  pieces  are  still  in 
general   use. 

Johnson,  A.  N.,  was  born  at  Middle- 
bury,  Vt.,  about  1825,  and  early  in  life  wen! 
to  Boston,  where  he  became  organist  when 
eighteen  years  old.  He  commenced  teaching 
and  conducting  conventions,  in  which  capacity 
he  has  traveled  all  over  the  country.  His 
works  are  numerous,  the  most  important 
among  which  are  his  "methods"  of  thorough- 
bass and  harmony.  He  is  the  composer  of  a 
quantity  cf  church  music,  and  a  frequent  con- 
tributor to  various  musical  publications. 

Josefly,  Rafael,  pianist,  was  born  in 
1852,  at  Muskolcz,  Hungary.  He  first 
studied  under  Moscheles  at  Leipsic  and  then 
under  Thalberg.  Dilligent  application  com- 
bined with  a  great  degree  of  natural  talent  en- 
sured him  rapid  progress,  and  he  soon  began 
to  astonish  the  people  of  Vienna  with  his  won- 
derful playing.  After  finishing  his  studies  he 
made  a  concert  tour  of  Holland  and  Germany, 
and  won  both  fame  and  applause,  being 
everywhere  well  received.  Two  or  three 
years  ago  (1879  or  1880)  he  came  to  this 
country,  and  has  regularly  appeared  in  the 
principal  cities  of  the  Union  with  great  suc- 
cess. As  a  player  he  has  a  marvelous  tech- 
nique, noted  not  only  for  brilliancy  but  also 
for  softness  and  elasticity. 


Karl,  Thomas,  tenor  singer,  was  born  in 
Ireland,  in  January,  1847,  and  educated  in 
England,  to  which  country  he  was  taken  at 
an  early  age.  He  commenced  studying  with 
the  celebrated  English  basso,  Henry  Phillips, 
and  by  his  advice  went  to  Italy  to  prepare 
himself  for  a  concert  singer  and  teacher. 
He  then  spent  several  weeks  in  Paris,  taking 
lessons  of  Delle  Sedie,  who  urged  him  to  go  to 
Milan,  which  he  did  and  studied  for  three 
years  with  San  Giovanni.  One  day  he  was 
heard  by  the  Italian  composer,  Enrico  Petrel- 
la,  who  desired  him  to  sing  in  a  new  opera, 
"La  Contessa  d'Amalfi,"  which  he  was  just 
on  the  eve  of  producing.  After  much  persua- 
sion he  was  induced  to  do  so,  and  met  with  a 
flattering  reception.  He  had  various  offers  of 
engagements,  and  sang  in  all  the  important 
theatres  of  Milan,  from  La  Scala  down.  He 
came  to  the  United  States  with  the  Carl  Rosa 
company  and  appeared  in  the  leading  cities. 
Four  seasons  ago  he  joined  the  Boston  Ideal 
Opera  Company  as  principal  tenor,  with 
which  organization  he  has  since  remained, 
excepting  one  season  spent  with  the  Emma 
Abbott  Company.  Mr.  Karl  has  sung  in  Eng- 
land, Spain,  Italy,  Russia,  and  other  European 
countries,  with  the  most  distinguished  singers. 
Much  of  his  time  is  spent  in  Boston  or  in  trav- 
eling with  his  company,  but  he  has  a  summer 
home  at  Rochester,  N.  Y.,  where  he  resides 
during  the  heated  term. 

Kathleen  Mavourneen.  One  of  the 

few  songs  which  have  attained  a  world-wide 
reputation.  The  words  are  by  Mrs.  Crawford, 
a  London  lady,  and  the  music  by  F.  Nicholls 
Crouch.  It  was  composed  not  long  after  an 
unsuccessful  and  disastrous  business  venture, 
and  during  a  period  of  retirement  from  the 
world.  The  composer  himself  thus  gives  an 
account  of  its  inception  :  "The  words  had 
been  sent  me  by  Mrs.  Crawford  from  London, 
and  as  I  was  riding  one  day  in  West  England 
on  the  banks  of  the  Tamar,  thinking  of  the 
poem,  the  melody  suddenly  came  to  me. 
I  was  so  infatuated  with  it  that  I  sang  it  to  a 
large  audience  in   the  assembly  rooms  at  Ply- 


mouth, Devonshire,  immediately  that  I  had 
written  it  down,  and  within  a  week  its  fame 
had  spread.  Thus  was  my  offspring  begotten 
and  so  became  a  child  of  the  world."  The 
writer  of  this  beautiful  song,  which  has  often 
been  sung  with  great  applause  by  noted 
singers,  is  now  residing  at  Baltimore,  Md., 
at  a  very  advanced  age  and  in  destitute  cir- 
cumstances. 

Kellogg1,  Ci.ara  Louise,  one  of  the  most 
celebrated  American  prima  donnas,  was  born 
of  northern  parents  at  Sumterville,  South 
Carolina,  in  July,  1842.  In  1856  the  family 
removed  to  New  York,  where  Clara  received 
her  musical  education.  Her  d&ut  was  made 
in  1861,  as  Gilda  in  "Rigoletto,"  at  the  New 
York  Academy  of  Music.  Nov.  2,  1867,  she 
appeared  at  Her  Majesty's  Theatre,  London, 
as  Margherita,  with  such  success  as  to  be  re- 
engaged for  the  next  season.  She  returned 
home  in  1868,  and  from  that  time  until  1872 
sang  in  the  principal  cities  of  the  United 
States,  being  warmly  received  wherever  she 
went.  In  1872  (May  11)  she  again  appeared 
in  London  at  Drury  Lane,  as  Linda  and  also 
as  Gilda.  In  1874  she  organized  an  opera 
company,  assuming  general  direction  of  the 
affairs  herself,  with  which  she  successfully 
traveled  throughout  the  Union.  Since  that 
time  she  has  repeatedly  visited  the  principal 
cities,  always  with  success.  Her  voice  is  a 
high  soprano  of  great  clearness  and  purity, 
which  she  controls  in  an  excellent  manner. 
She  is  said  to  be  acquainted  with  thirty-five 
operas,  but  her  best  role  is  that  of  Margherita 
in  "Faust."  Many  interesting  incidents  might 
be  gleaned  from  her  career.  It  is  related  that 
upon  one  occasion  when  Miss  Kellogg  and 
Mine.  Pauline  Lucca  were  singing  in  St. 
Louis  as  rivals,  the  Germans  espoused  the 
cause  of  Lucca  and  the  Americans  that  of 
Kellogg.  The  Germans  took  up  a  subscrip- 
tion and  on  the  first  night  of  Lucca's  appear- 
ance presented  her  with  a  bouquet  of  flowers 
costing  #35.  On  the  following  evening  the 
friends  of  Miss  Kellogg  made  her  a  present  of 
a  turret  of  rare  roses,  nearly  eight    feet    high, 


82 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


which  was  laid  at  her  feet  during  one  of  the 
performances  and  elicited  overwhelming  ap- 
plause. The  cost  was  $135.  This  excited  the 
friends  of  Lucca,  and  they  raised  over  $200, 
which  they  presented  to  the  celebrated  songs- 
tress in  the  shape  of  a  laurel  wreath 
lined  with  pure  gold.  But  the  Americans 
were  not  to  be  outdone,  and  presented  their 
favorite  with  a  gold  medal  and  chain  costing 
nearly  $350.      This  ended  the  competition. 

Keller,  Maitiiias,  born  March  20,  1813, 
at  (Jim,  Wurtemburg,  was  in  early  life  a  band- 
master, and  in  1846  came  to  this  country. 
lie  located  in  Philadelphia  as  a  violinist,  sub- 
sequently  became  conductor  of  the  English 
opera  in  New  York,  and  finally  removed  to 
Boston.  His  songs  are  numerous,  but  he  is 
perhaps  best  known  as  the  composer  of  the 
"American  Hymn,"  performed  at  the  Great 
Peace  Jubilee  i^(  1869  by  a  chorus  of  u\er 
io.coo  voices  and  an  orchestra  of  1 100  per- 
formers. 

Key,    Francis    Scott,  the  author  of  the 
words    to     our     national     song,     "  The    Star 
Span-led  Banner,"  was  born   in    Maryland    in 
17S0.      He    was  about  thirty-four  years  of  age 
when  he  wrote  the  hymn  which  will  carry  his 
name  down  to  posterity.      A  volume  of  poems  | 
from  his  pen  was  published  in  1S57.      He  died 
in    1843.     The   remains  repose  in  a  cemetery  j 
near  Washington,  and  the  grave  is  marked  by 
a  plain   marble   slab  bearing  this  inscription  : 
"Francis  Scott  Key,  born  Au«.  9,  1780;  died 
Jan.  11,  1S43."      By  the  side  of  this  is  another  i 
slab  marked  as  follows  :      "  Mary  Taylor  Key, 
born  May  26,  1784;  died  May  18,  1859." 

Keyetl  violin.  An  instrument  exhibited 
in  New  York,  in  1S4S,  having  five  octaves  of  j 
strings,  stretched  as  in  a  piano.  At  right 
angles  and  within  a  minute  distance   of  each 


string   passes  a 


•had 


These  bows 


are  kept  in  motion  by  machinery  worked  by  a 
pedal.  On  pressing  the  keys  of  the  keyboard, 
which  is  the  same  as  that  of  a  piano  or  organ, 
bows  are  brought  into  contact  with  the  cones- 
ponding  strings,  and  sounds  similar  to  those  of 
a  violin  produced. 

Keynote,  The.  A  weekly  publication 
devoted  to  the  interests  of  music  in  general. 
Edited  by  Frederic  Archer ;  published  by 
John  J.  King.  Each  number  contains  20 
pages.  Subscription  price  #4.00  per  annum. 
Established  in  1883. 


Kimball,  JACOB,  one  of  the  early  Amer- 
ican psalmodists,  was  born  at  Topsfield,  Mass., 

in  February,  1761.  He  was  a  lawyer  by  pro- 
fession, but  music  proved  the  most  enticing 
and  he  left  his  first  love.  In  1753  he  pub- 
lished "  Rural  Harmony,"  the  music  of  which 
was  largely  original.  He  taught  music  ill 
various  New  England  towns  for  many  years, 
and  wrote  numerous  church  pieces.  That  he 
was  not  very  successful  in  worldly  affairs 
would  seem  from  the  fact  that  he  became  an 
inmate  of  the  poor  house  at  his  native  place, 
where  he  died  Feb.  20,  1826. 

Kinkel,  Charles,  the  composer  of  many 
light,  pleasing  piano  pieces,  was  born  in  the 
Rheinpfalz,  Germany,  in  1832.  He  was  not 
specially  educated  in  music,  though  he  always 
evidenced  a  great  love  therefor.  The  Revolu- 
tion of  1S48  produced  such  an  unsettled  state 
of  things  in  Germany  that  he  resolved  to  leave, 
and  the  following  year  he  arrived  in  the  United 
States.  On  observing  the  opportunities  for 
success  in  the  musical  profession,  he  entered 
the  ranks,  and  for  twenty  years  was  professor 
of  music  at  the  Science  Hill  Female  Academy, 
Shelbyville,  Ky.  His  compositions  are  almost 
exclusively  piano  pieces,  many  of  which  are 
designed  for  teaching  purposes.  Among  the 
more  popular  we  may  mention  "  Angel's  Ser- 
enade," "Pearl  and  Daisy  Polka,"  "Polymnia 
Polka,"  "  Postillion  d' Amour,"  "  Mabel  Ma- 
zurka," "Angel  of  Night,"  and  "Lover's 
Serenade." 

Knabe,  William   <St  Co.    A  firm  of 

American  piano  manufacturers,  located  at 
Baltimore,  Maryland.  William  Knabe,  the 
founder  of  the  house,  was  bom  at  Kreutzberg, 
in  the  Duchy  of  Saxe  Weimer,  Germany,  in 
1S03.  Early  in  life  he  was  apprenticed  to  a 
cabinet  maker,  and,  later,  to  Langehan,  a 
piano  maker  of  Gotha,  with  whom  he  remained 
three  years.  After  leaving  Gotha  he  traveled 
throughout  Germany,  and  finally  came  to  this 
country  and  settled  in  Baltimore.  He  entered 
the  service  of  Mr.  Harlge,  a  piano  manufac- 
turer, with  whom  he  stayed  four  years.  At 
the  expiration  of  that  time  he  went  into  busi- 
ness for  himself,  and  in  1839  took  into  part- 
nership H.  Gaehle.  From  this  time  the  busi- 
ness rapidly  and  steadily  increased,  both  being 
men  of  energy  and  skill.  In  1S55  the  partner- 
ship was  dissolved  by  the  death  of  Mr.  Gaehle, 
but  tin-  business  was  continued  under  the  linn 


DICTIONARY    OF    AMERICAN1    MUSIC    AND    MUSICIANS. 


83 


name  ofWm.  Knabe  &  Co.  by  Mr.  Knabe. 
Five  years  later,  or  in  i860,  the  erection  of 
the  present  large  and  commodious  factory  was 
begun,  to  accommodate  the  constantly  increas- 
ing trade.  Mr.  Knabe  died  in  1864,  and 
was  succeeded  by  his  two  sons,  William 
and  Finest,  and  his  son-in-law,  Charles 
Keidel,  win)  constitute  the  present  firm.  The 
War  of  the  Rebellion  caused  serious  interrup- 
tion to  the  business  of  the  firm,  and  compelled 
them  to  seek  new  channels  for  their  trade, 
which  they  did  in  the  North  and  West.  This 
eventually  proved  to  be  the  most  beneficial 
thing  that  could  have  happened  to  them,  as 
it  extended  their  trade  all  over  the  country 
and  made  their  reputation  a  national  one. 

Messrs.  Knabe  &  Co.  are  one  of  the  leading 
piano  manufacturing  firms  of  the  country,  and 
their  factory  is  one  of  the  chief  institutions  of 
Baltimore.  It  is  a  massive  structure  five  sto- 
ries high,  and  is  fitted  with  every  possible  con- 
venience for  turning  out  first-class  work.  The 
firm  has  a  branch  house  in  New  York  City 
and  active  agencies  all  over  the  world.  There 
is  a  large  demand  for  their  instruments  from 
Europe,  and  even  from  Japan.  The  Knabe 
piano  possesses  in  all  respects  every  requisite 
of  a  first-class  instrument,  and  is  used  by 
artists  and  musicians  everywhere. 

Kxeissmanh,  August, was  bom  in  1S23, 

at  Frankenhausen,  Saxony.  He  studied  sing- 
ing at  Dresden,  Vienna,  and  Milan,  and  about 
1849  came  to  the  United  States,  settling  in 
Boston.  For  many  years  he  was  conductor  of 
the  famous  "Orpheus  Club,"  and  was  very  suc- 
cessful as  a  teacher,  numbering  among  his  pu- 
pils some  who  are  now  excellent  musicians. 
He  was  the  pioneer  of  and  contributed  greatly 
to  the  popularity  of  German  lieder,  especially 
those  of  Fran/!.  Hissinging  was  expressive  and 
intelligent,  and  bis  voice,  a  tenor,  full,  sweet 
and  sympathetic.  On  account  of  failing  health, 
he  returned  to  Germany  in  1876,  and  died  at 
Gera,  March  12,  1879.  He  was  of  a  kindly 
nature,  and  highly  esteemed  by  all  who  knew 
him. 

Kllllkel  Brothers.  A  music  publish- 
ing and  dealing  firm  located  at  St.  Louis,  Mo., 
formed  about  1868.  It  is  one  of  the  leading 
houses  west  of  the  Mississippi  river.  They 
have  an  extensive  catalogue,  mainly  comprising 


piano  music  of  the  better  class. 

JACOB,  the  younger  brother,  was  born  Oct.  22, 
1846,  at  Kleiniedesheim,  Germany.  He  stud- 
ied with  his  father  and  elder  brother,  Charles, 
and  afterwards  with  Gottschalk.  He  was  also 
a  nominal  pupil  of  Tausig.  While  very  young 
he  came  to  this  country,  and  in  1S68  located  in 
St.  Louis,  where  in  conjunction  with  his 
brother  he  entered  into  the  music  dealing  busi- 
ness and  commenced  the  publication  of  "Kun- 
kel's  Musical  Review."  He  was  a  pianist  of 
extraordinary  ability  and  in  the  rendering  of 
poetical  compositions  had  few  equals.  Tausig, 
to  whom  he  went  for  lessons,  said  to  him  :  "I 
can  not  take  you  as  a  pupil — I  have  nothing 
to  teach  you.  You  are  a  finished  pianist  of 
the  first  rank.  You  can  come  to  me  as  a 
friend,  and  I  am  willing  to  make  suggestions 
as  to  the  interpretation  of  the  works  you  may 
choose  to  play,  but  that  is  all."  His  com- 
positions, mostly  piano  pieces,  are  quite  numer- 
ous.    He  did  at  St.  Louis,  Oct.  16,  18S2. 

Charles,  the  elder  brother,  was  born  July 
22,  1840,  at  Sippersfeld,  in  the  Rheinpfalz. 
He  came  to  the  United  States  in  1S49,  when 
only  nine  years  of  age.  His  musical  studies 
were  pursued  under  the  care  of  his  father,  a 
good  musician,  Thalberg  and  Gottschalk. 
In  1868  he  removed  with  his  brother  to  St. 
Louis,  where  they  engaged  in  the  music  busi- 
ness and  where  he  now  (March,  1886)  resides. 
He  has  written  many  piano  pieces  of  more 
than  ordinary  merit,  both  under  his  own 
name  and  under  noms  deplume.  As  a  pianist 
he  ranked  with  his  brother,  with,  perhaps, 
greater  range  of  interpretation.  His  chio 
playing  with  his  brother  was  unequaled,  and 
was  warmly  commended  by  Anton  Rubin- 
stein when  he  visited  St.  Louis,  in  January, 
1873.  As  a  sight  reader  he  has  few  equals 
either  in  this  country  or  Europe. 

Kunkel's  Musical  Review.  A  48  to 

60  page  musical  publication,  full  sheet-music 
size,  issued  by  the  foregoing  firm.  From  16 
to  30  pages  are  devoted  to  musical  articles, 
sketches,  reviews,  and  criticisms,  and  24  or 
more  pages  contain  vocal  and  instrumental 
music.  It  is  edited  by  I.  D.  Foulon,  A.  M., 
LL.B.,  and  is  published  monthly.  Estab- 
lished in  1878.  Subscription  price,  S2.00  per 
annum.      Circulation  about  2?, 000. 


L. 


La  fTouilCSSO.  The  family  name  of 
Albani.     See  Ai.bani,  Marie  Emma. 

Ijiliig",  Benjamin  Jobason,  was  born  in 
1840,  at  Salem,  Mass.,  and  when  only  eleven 
years  of  age  became  organist  of  one  of  the 
churches  of  his  native  city.  His  first  musical 
instruction  was  received  from  his  father;  he 
then  studied  under  Alfred  Jaell,  Gustav  Satter, 
and  F.  Hill,  and  subsequently  went  to  Europe 
to  study  with  Liszt.  Since  then  he  has  several 
times  been  abroad  for  instruction  and  to  obtain 
a  thorough  knowledge  of  foreign  musical  cul- 
ture. During  these  trips  he  has  occasionally 
given  concerts  in  Berlin,  Dresden,  Vienna, 
and  other  places  with  good  success.  Mr. 
Lang  has  always  resided  at  Boston,  where  he 
was  appointed  organist  of  the  Handel  and 
Haydn  Society  in  1859,  conductor  of  the 
Apollo  Club  upon  its  organization  in  1871, 
and  leader  of  the  Cecilia  Society  upon  its 
organization  in  1874,  all  of  which  posts  he  has 
ably  idled  and  still  retains.  This,  however, 
does  not  indicate  his  activity,  for  he  occupies 
a  leading  place  in  Boston's  musical  affairs. 
His  energy,  ability  and  good  sense  have  pro- 
moted and  successfully  carried  through  many 
musical  undertakings.  To  him  belongs  the 
credit  of  having  first  produced  in  Boston  many 
notable  works,  among  which  are  Mendels- 
sohn's "  Lobgesang,"  "  Walpurgis  Nacht," 
"  Athaba,"  "  Loreley,"  and  "Antigone;" 
Haydn's  "  Seasons  ;  "  Schumann's  "  Para- 
dise and  the  Peri ;  "  Berlioz's  "  Le  Damna- 
tion de  Faust;"  and  Beethoven's  "Ruins  of 
Athens."  lie  is  highly  esteemed  as  a  teach- 
er, and  of  his  many  pupils  over  sixty  are  con- 
cert soloists.  Though  not  a  virtuoso  in  the 
strictest  sense  of  the  word,  he  is  a  fine  player, 
and  above  all  a  thoroughly  educated  and 
sound  musician.  His  calmness  and  presence 
of  mind  under  all  circumstances  and  surety  of 
score  reading  has  more  than  once  saved  a 
careless  or  nervous  performer  from  disaster. 
These  qualities  make  him  one  of  the  best  con- 
ductors, and  enabled  him  to  successfully  act 
in  that  capacity  for  the  belligerent  von  Billow 
and  the  meteoric  Joseffy.      Mr.    Lang  has  for 


many  years  faithfully  filled  the  position  of 
organist  at  the  leading  Unitarian  Church, 
Boston.  His  compositions  are  numerous  and 
have  frequently  been  performed  in  public, 
but  thus  far  none  of  them  have  been  published. 

Ijavall^e,  Calixa,  pianist  and  composer, 
was  born  at  Vercheres,  Dec  28,  1842,  and  is 
of  French  extraction.  His  first  lessons  were 
received  from  his  father,  and  such  was  his 
progress  that  at  the  age  of  ten  years  he  made 
his  first  public  appearance.  At  the  age  of 
fifteen,  through  the  financial  aid  of  some  of 
his  father's  friends,  he  was  sent  to  Paris,  where 
he  studied  under  Marmontel,  Boieldieu  and 
Bazin.  While  there  he  wrote  a  number  of 
works,  particularly  a  "Suite  d'Orchestre," 
which  gained  a  public  performance.  For  sev- 
eral years  he  made  Paris  his  home,  meanwhile 
traveling  all  over  Europe.  He  was  recalled 
to  his  native  country  to  found  a  conservatory 
of  music,  but  the  scheme  proved  a  failure. 
While  in  Quebec,  he  was  requested  by  the 
Government  to  write  a  cantata  for  the  reception 
of  the  Princess  Louise  and  the  Marquis  of 
Lome,  on  their  arrival  in  Canada.  The  work 
was  composed  and  scored  in  one  month,  and 
rendered  by  a  chorus  of  five  hundred  voices 
and  an  orchestra  of  80  performers.  It  was  very 
highly  complimented,  but  Mr.  Lavallee  was 
kindly  left  to  "pay  the  fiddler"  himself.  Not 
long  after  this,  he  removed  to  the  lTnite<l 
States,  and  has  for  some  time  been  a  resident 
of  Boston. 

Mr.  Lavallee  is.a  warm  advocate  of  Ameri- 
can music  and  musicians.  At  the  meeting  of 
the  Music  Teachers'  National  Association 
in  Cleveland,  in  July,  1884,  he  gave  a 
piano  recital  from  American  composers 
alone,  which  was  well  received.  Through 
his  efforts,  the  Association  gave  two  concerts 
of  American  works,  vocal  and  instrumental,  at 
its  last  meeting  (July,  1885)  in  New  York. 
During  the  winter  of  1884-5,  he  also  gave  two 
concerts  in  Boston,  the  music  of  which  was 
purely  American.  He  has  also  given  a  series 
of  American  concerts  during  the  past  winter. 
He  is   an  active  member  of  the  M.  T.  N.  A., 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


85 


and  at  present  chairman  of  the  program  com- 
mittee. As  a  pianist  he  ranks  among  the 
foremost  in  the  country.  His  execution  is 
brilliant,  facile,  graceful  and  clear;  his  tech- 
nique  wonderful,  and  his  repertoire  extensive. 
Among  his  works  are  two  operas,  one  sym- 
phony, a  book  of  piano  studies,  and  many 
piano  and  vocal  pieces.  Most  of  them  have 
been  published  in  Europe,  though  a  few  have 
appeared  in  this  country.  An  offertory,  "Tu 
es  Petrus,"  and  an  oratorio  are  his  latest  works. 
Mr.  Lavallee  is  at  present  (January,  1S86)  con- 
nected with  the  Petersilea  Academy  of  Music 
at  Boston. 

Law,  Andrkw,  one  of  the  early  American 
church  composers,  was  born  in  1748,  at 
Cheshire,  Conn.  From  whence  his  musical 
education  was  derived  is  not  known,  but  he 
was  probably  largely  self-taught.  For  many 
years  he  was  a  very  successful  teacher  of  music 
in  New  England  and  in  the  South,  and  seems 
to  have  been  much  in  demand,  having  a  good 
general  education  in  addition  to  his  knowledge 
of  music.  In  1782  he  published  at  Cheshirea 
volume  entitled  "A  Collection  of  the  best  and 
most  appioved  Tunes  and  Anthems  known  to 
exist.''  A  second  volume  followed,  and  both 
were  subsequently  combined  under  the  name 
of  "Christian  Harmony."  His  firstwork  was 
probably  a  "  Musical  Primer,"  published  in 
1780.  In  1786  he  published  an  "Original 
Collection  of  Music,"  at  Baltimore,  Md.,  and 
in  1792  the  fourth  edition  of  a  work  entitled 
"The  Rudiments  of  Music,"  containing  76 
pages.  A  copy  of  this  work,  formerly  owned 
by  Timothy  Swan,  is  now  in  the  library  of  the 
Harvard  Musical  Association.  About  the  be- 
ginning of  the  century  his  "  Art  of  Singing  " 
was  issued.  It  consisted  of  three  depart- 
ments, or  rather  three  works  combined  under 
one  head.  The  first  was  the  "  Musical  Prim- 
er," the  second  the  "Christian  Harmony," 
and  the  third  the  "Musical  Magazine."  This 
was  the  first  musical  publication  of  America. 
Law  died  at  Cheshire,  Conn.,  in  July,  1821. 
lie  was  the  composer  of  many  church  tunes, 
some  of  which  are  still  known.  Many  of  his 
works  were  printed  in  a  notation  of  his  own 
invention,  in  which  the  heads  of  the  notes 
were  square,  diamond,  quarter  diamond,  half 
diamond,  etc.,  according  to  kind.  A  similar 
notation  is  used  by  some  petty  publishers  at 
the  present  day. 


Leavitt,  W.  J.  D.,  was  born  at  Boston, 
June  28,  1841,  and  commenced  the  study  of 
music  at  an  early  age.  After  having  studied 
for  some  time  with  such  teachers  as  his  native 
city  then  afforded,  he  went  to  Europe  and  lin- 
lshed  his  musical  education  under  the  best 
instructors  there.  After  returning  to  this 
country,  he  was  from  1S65  to  1S70  principal  of 
the  Oneida  Conservatory,  Oneida,  N.  V.  In 
1870  he  returned  to  Boston,  where  he  is  still 
located  as  an  organist  and  teacher.  Since 
1875  he  has  had  charge  of  the  large  organ  in 
the  Music  Hall,  Boston,  and  has  given  several 
hundred  recitals  upon  it  of  classical  and  other 
music.  Mr.  Leavitt's  works,  which  are  high- 
ly esteemed,  extend  to  op.  65.  Among  the 
more  important  are  "  The  Coronation  of 
David,"  op.  11;  Instructions  for  the  Organ, 
op.  29  ;  "Mercedes,"  a  grand  opera,  op.  44; 
Andante  and  Polonaise  for  orchestra,  op.  46 ; 
"The  Lord  of  the  Sea,"  cantata,  op.  48; 
"Camb'yses,  or  the  Pearl  of  Persia,"  operatic 
cantata,  op.  50;  Organ  Sonata,  op.  51  ;  "The 
Adventure  Club,"  comic  operetta  for  male 
voices,  op.  55  ;  and  "Flowers  and  Lilies," 
comic  operetta  for  male  voices,  op.  56.  The 
balance  of  the  works  consist  of  a  Bridal  and 
Torchlight  March  for  the  organ,  organ  fan- 
tasies, piano  etudes,  three  sets  of  quartets  for 
male  voices,  numerous  sacred  pieces,  songs, 
orchestral  compositions,  etc. 

Lee  &  Walker.  A  music  publishing 
firm  of  Philadelphia,  Pa.,  which  was  founded 
in  1848,  by  Julius  Lee  and  William  Walker. 
The  firm  was  successor  to  George  Willig,  who 
established  himself  in  business  in  that  city  as 
early  as  1794,  Lee  and  Walker  having  been 
clerks  in  his  store.  Mr.  Walker  died  in  i857) 
and  the  business  was  carried  on  by  Mr.  Lee 
under  the  same  firm  name,  which  had  now 
become  well  known.  Mr.  Lee  dying  in  1875, 
the  business  was  temporarily  suspended,  and  in 
1S76  the  stock  and  publications  of  the  firm 
were  bought  by  Ditson  &  Co.,  who  established 
J.  E.  Ditson  &  Co.  in  business  as  successors. 
Meanwhile,  Julius  Lee  Jr.  anil  J.  F.  Morrison 
entered  into  partnership  and  continued  the 
business  under  the  old  and  well-known  firm 
name,  Lee  &  Walker.  The  firm  has  pub- 
lished many  popular  works,  especially  those 
by  Sep.  Winner  ("Alice  Hawthorne"),  whose 
first  song  they  issued  about  1850.  They  con- 
fine themselves  more  to  the   publication   of   a 


.sc 


HANDBOOK   OF   AMERICAN    MUSIC   AND   MUSICIANS. 


light,  popular  class  of  music,  rather  than  of 
the  heavy,  classical  works;  and  in  this  line 
they  have  been  very  successful. 

LeilllOIl,  J.  ii.,  pianist,  organist  and 
conductor,  was  born  at  Lowell,  Mass.,  about 
1855.  While  still  quite  young,  he  studied 
with  various  Boston  teachers,  among  whom 
were  G.  E.  Whiting,  Carlyle  Petersilea  and  Dr. 
J.  H.  Willcox.  In  1874,  having  held  several 
positions  as  organist,  he  went  to  Europe  for 
study,  having  ilauptand  Loeschorn  for  teach- 
ers while  at  Berlin.  At  Paris  he  was  a  pupil  of 
Edouard  lir.tiste.  On  his  return  to  Boston, 
Mr.  Lennon  became  organist  of  St.  Augustine 
Church.  At  present  (March,  1886)  he  is 
organist  ami  director  of  music  at  St.  Peter's 
Church,  which  has  a  very  hue  organ  built 
under  his  supervision.  He  is  also  conductor 
of  the  Boston  Oratorio  Society. 

LeilOra.  A  cantata  for  four  solos,  cho- 
rus, and  orchestra.  The  poem  is  by  Burger; 
the  music  by  George  E.  Whiting.  Composed 
since  1878.  It  still  remains  in  manuscript,  and 
has  not  yet  been  peformed. 

Leonora.  An  American  opera  by  W.  H. 
Fry.  First  produced  at  the  Academy  of  Music, 
New  York,  March  29,  1858. 

Levy,  JULES,  one  of  the  most  celebrated 
cornet  soloists  of  the  present  time,  was  born 
about  1840.  When  only  hve  years  old  he 
began  to  practice  on  the  cornet ;  and  is  entire- 
ly self-taught,  excepting  a  few  lessons  received 
to  assist  him  in  the  proper  formation  of  the 
lip.  At  the  age  of  seventeen  he  became  a 
member  of  the  Grenadier  Guard's  Band,  then 
under  the  direction  of  Godfrey,  and  in  i860 
made  his  dclnit  at  Floral  Hall,  near  Covent 
Garden,  London.  From  there  he  went  to 
Crystal  Palace,  Sydenham,  but  was  soon  after 
engaged  by  Alfred  Mellon  for  his  promenade 
concerts  at  Covent  Garden,  playing  also  dur- 
ing the  day  at  Crystal  Palace.  He  remained 
with  Mellon  until  1864,  when  he  went  to  Paris 
and  was  engaged  as  soloist.  In  the  latter  part 
of  the  year  he  first  came  to  this  country,  ac- 
companying Mine.  Parepa-Rosa  and  being 
under  the  management  of  Mr.  Bateman.  On 
returning  to  Europe  he  tilled  various  engage- 
ments in  London  and  Paris,  and  in  1868  came 
to  this  country  the  second  time,  under  the 
management  of  Parepa-Rosa  herself.  In  1S70 
he  was  engaged  as  solo  cornetist  in  the  Ninth 
Regiment    Band.      Six    months    after    he   left 


New  York  for  Russia,  accompanying  the 
Grand  Duke  Alexis.  He  remained  in  Russia 
until  1873,  when  he  went  to  England  and 
played  at  Riviere's  concerts,  Covent  Garden. 
In  1875  ne  came  to  the  United  States  for  the 
third  lime,  since  when,  excepting  a  portion  of 
1S76,  1877,  and  a  portion  of  1878,  when  he 
was  in  Australia,  he  has  made  his  home  here, 
and  has  been  the  most  of  the  time  under 
P.  S.  Gilmore's  management.  He  is  univers- 
ally considered  to  be  one  of  the  leading  cor- 
net players  of  the  world,  having  a  good  style 
and  great  facility  of  execution. 

Liberati,  Alessandro,  one  of  the  most 
celebrated  of  living  cornet  virtuosi,  was  born 
at  Frascati,  a  small  town  fourteen  miles  from 
Rome,  July  7,  1S47.  At  the  age  of  twelve 
years  he  began  to  study  cornet  playing  under 
the  care  of  Nini.  After  filling  various  posi- 
tions as  soloist  in  Euiope,  he  in  1872  came  to 
America,  landing  in  Boston  in  October  of  that 
year.  Soon  after  he  proceeded  to  Ottawa, 
Canada,  where  he  became  very  popular  and 
where  he  remained  about  three  years.  He 
accompanied  the  Detroit  National  Guard  Band 
to  the  Centennial  Exposition  as  leader.  From 
Detroit  he  went  to  Boston,  playing  both  there 
and  in  New  York.  He  played  at  Chicago  in 
1880,  at  New  Orleans  in  1883,  and  at  Louis- 
ville, Ky.,  in  the  same  year.  He  has  repeat- 
edly appeared  in  the  principal  cities  of  the 
country,  always  with  the  greatest  success. 
As  a  cornetist  he  has  a  wonderful  execution, 
playing  the  most  intricate  music  at  sight.  He- 
has  written  numerous  compositions  for  the 
cornet. 

LieblillJ?,  Emu.,  was  born  April  12, 
185 1,  at  Pless,  near  the  Austrian  frontier.  He 
first  studied  under  Adam  Kong,  a  blind  pian- 
ist, and  then  under  P^hrlich  of  Berlin,  whither 
his  parents  had  removed.  At  the  age  of 
twelve  years  he  appeared  in  public  as  a  pianist 
at  Liebig's  Symphony  Concerts,  and  played 
duos  with  his  teacher.  In  1867  he  came  to 
this  country,  and  from  that  lime  until  1871  was 
a  teacher  of  music  in  a  seminary  for  ladies,  in 
Kentucky.  In  the  latter  named  year  he  went 
to  Europe  for  study,  but  returned  in  1872  and 
settled  in  Chicago.  He  again  went  abroad 
in  1874,  studied  with  Kullak  at  Berlin  during 
the  ensuing  winter,  next  went  to  Vienna  and 
studied  with  Dachs  and  Kreun,  and  after  six 
months  went  back  to  Berlin   and  resumed  his 


HANDBOOK   OF   AMERICAN   MUSIC   AND    MUSICIANS. 


87 


studies  under  Kullak.  In  the  spring  of  1876 
he  went  to  Weimar  and  stayed  with  Liszt  for 
a  short  time,  after  which  he  returned  to  his 
home  in  Chicago.  While  at  Berlin  he  fre- 
quently appeared  in  public  at  concerts,  and 
was  highly  praised  by  the  critics  for  his  finely 
developed  technique,  excellent  touch,  and  true 
interpretation  of  works  of  the  masters.  In 
1877  he  gave  concerts  in  Steinway  Hall,  New 
York,  and  in  other  principal  cities  of  the 
country.  He  has  also  played  with  Thomas' 
orchestra,  and  taken  two  trips  throughout  the 
West  with  Wilhelmj,  the  violinist. 

Mr.  Liebling  is  one  of  the  foremost  Ameri- 
can pianists.  His  repertoire  contains  a  large 
number  of  classical  pieces  from  Beethoven, 
Bach,  Mozart,  Handel,  Haydn,  etc.  He  is 
not  only  a  virtuoso  hut  a  musician  as  well. 
His  compositions  include  a  nocturne  ("First 
Meeting"),  "  Le  Meteor,"  "Galop  de  Con- 
cert," "Gayott  modern,"  "Valse  de  Concert," 
and  some  songs  and  other  pieces,  all  of  merit. 
At  present  (18S5)  he  is  still  located  in  Chica- 
go, where  he  is  highly  esteemed  as  a  teacher 
and  player. 

Listeinailll,  Bernhard,  was  born  in 
1841,  at  Schlotheim,  Thuringia,  and  early 
evinced  a  great  love  for  the  violin.  So  great 
was  his  progress  thereon  that  when  a  small 
child  he  appeared  in  public  at  his  native  place, 
playing  the  Adagio  of  Spohr's  9th  Concerto 
and  David's  variations  on  "  The  Little  Drum- 
mer Boy."  He  went  to  Leipsic,  where  he 
studied  under  David  for  some  time,  and  then 
accepted  the  position  of  kamrmr-virtiios  to  the 
reigning  prince  at  Rudolstadt.  This  post  he 
retained  nine  years,  and  also  continued  his 
studies  under  Joachim  and  Yieuxtemps  at 
Leipsic.  In  1S67  he  came  to  the  United 
States,  speedily  took  a  leading  position,  and 
in  1 87 1  was  engaged  by  Theodore  Thomas  as 
a  solo  violinist.  He  afterwards  held  the  same 
position  in  the  orchestra  of  the  Harvard  Mu- 
sical Association,  and  organized  a  conceit 
company  and  a  string  quartet.  In  1880,  upon 
the  formation  of  the  Philharmonic  Society, 
Boston,  he  became  its  first  conductor.  As  a 
violinist  he  takes  high  rank,  possessing  all 
the  qualities  of  a  true  artist.  His  works  are 
not  numerous.  Besides  a  number  of  minor 
pieces,  be  has  written  a  symphony  in  C  minor, 
which  remains  in  manuscript,  and  a  school 
for  the  violin,  published    in  Boston.      He  is  at 


present  located  in  Boston,  and  iscAefd'  attaque 
in  the  Symphony  Orchestra. 

Littil,  Marie,  whose  real  name  was  Marie 
von  Elsner,  was  born  June  1,  1856,  at 
Bloomington,  111.,  where  her  father  was  a 
musician.  She  sang  in  concerts  almost  from 
infancy,  and  when  thirteen  had  attracted  such 
attention  that  she  was  placed  under  John 
Underner  cf  Cleveland,  Ohio.  After  study- 
ing for  some  time  under  Mr.  Underner  she 
was  enabled,  through  the  liberality  of  her 
friends,  to  visit  Paris,  where  she  remained  a 
year  with  Mme.  Viardot-Garcia.  She  then 
made  her  debut  as  Isabella  in  "  Robert  le 
Diable  "  at  Drury  Lane,  London,  May  20, 
1876,  under  Col.  Mapleson's  management. 
Returning  to  Paris  she  continued  her  studies 
with  Mme.  La  Grange.  At  the  end  of  six 
months  she  made  her  first  appearance  in  that 
city  at  the  Grand  Opera  in  "  Lucia  di  Lam- 
mermoor  "  with  great  success.  Her  Ameri- 
can cUbut  was  at  McYicker's  theatre,  Chicago, 
Nov.  16,  1878,  as  Lucia  in  "  Lammermoor." 
She  sang  for  several  years  in  various  parts  of 
the  country,  firmly  establishing  her  reputation. 
But  her  career  was  destined  to  be  short,  for 
she  died  at  her  native  place,  in  July,  1883, 
greatly  lamented.  With  her  death  a  brilliant 
and  rising  star  ceased  to  shine. 

L-UCas,  George  W.,  was  born  April  12, 
1800,  at  Glastenbury,  Hartford  Co.,  Conn. 
He  studied  music  under  Thomas  Hastings  at 
Albany  and  New  York,  and  when  sixteen 
years  old  commenced  teaching  in  his  native 
state.  In  1828  he  was  elected  honorary  mem- 
ber of  the  Handel  and  Haydn  Society  at  Bos- 
ton, and  in  1S.42  of  the  Sacred-Music  Society 
of  Montreal.  In  1S43  he  was  president  of  the 
National  Musical  Convention,  which  was 
held  at  Boston.  He  has  traveled  all  over  the 
United  States  and  Canada  as  a  lecturer  and 
teacher  of  vocal  music,  numbering  his  pupils 
by  the  thousands.  From  1820  to  1835  he  was 
a  resident  of  Northampton,  Mass.,  from  1835 
to  1837  of  Charlestown,  and  from  1837  to 
1844  of  Troy,  N.  Y.  After  this  he  went  West 
but  returned  to  Northampton  in  1S52  or  1853. 
His  subsequent  history  has  not  been  learned. 

LiUfldeil,  William,  was  born  in  1823,  at 
Williamsburg,  Mass.  In  1S40  he  commenced 
the  study  of  music  with  George  James  Webb 
and  Dr.  Lowell  Mason  at  Boston.  Two  years 
later  he  located  in  Pittsfield  in  his  native  state  as 


DICTIONARY    OF    AMERICAN    MUSIC    AND   MUSICIANS. 


a  teacher  of  music,  and  in  1844  became  pro- 
fessor of  music  in  Williston  Seminary.  In 
1846  he  entered  the  freshman  class  in  Yale 
College,  at  the  same  time  assuming  the  duties 
of  organist  and  chorister  at  Trinity  Church, 
New  Haven,  which  he  discharged  for  seven 
years.  The  Beethoven  Society,  composed  of 
college  students,  chose  him  as  their  president 
and  conductor  in  1847,  arRl  under  his  care  the 
public  performances  assumed  a  high  order. 
Among  the  works  given  was  Felicien  David's 
"  Le  Desert,"  of  which  several  repetitions 
were  demanded.  After  graduating  in  1S50  he 
entered  the  medical  department  of  the  college, 
meanwhile  teaching  music.  In  1S53  he  went 
to  Paris  and  studied  voice-culture  under  the 
best  masters,  also  completing  his  medical 
studies.  The  following  year  he  returned, 
married  Miss  M.J.  Blatchley,  one  of  his  form- 
er pupils,  and  devoted  his  time  to  giving  vocal 
lessons,  which  he  made  a  specialty.  After  a 
very  successful  period  of  teaching,  the  last 
eight  years  of  which  were  spent  in  Chicago, 
he  in  1870  removed  to  Savannah,  Ga.,  and 
with  J.  A.  Bates  formed  the  firm  of  Ludden  & 
Bates,  music  dealers,  of  which  he  is  still 
(1884)  an  active  partner.  During  his 
residence  in  Savannah  he  was  editor  of  the 
"  Southern  Musical  Journal."  In  18S0  he  re- 
moved to  New  York  City,  where  he  is  still 
located,  devoting  his  time  mainly  to  the  prep- 
aration of  musical  works.  Among  those 
already  issued  are  "Thorough-Bass  School," 
"Sacred  Lyrics,"  "School  for  the  Voice," 
etc.,     and    more      recently,    "  Ludden's    Pro- 


nouncing Dictionary  of  Musical  Terms"  (12- 
mo.,  1876),  a  very  complete  and  handy  little 
volume,  "Standard  Organ  School,"  and  others. 
LyOH  &  Hoaly.  The  name  of  a  musi- 
cal firm  located  in  Chicago,  who  commenced 
business  about  the  year  1865.  They  deal  very 
largely  in  band  and  orchestral  instruments  and 
supplies,  and  in  this  respect  they  take  a  lead- 
ing position  among  the  various  music  houses 
of  the  West. 

Lyons  Musical  Academy,  Lyons, 

N.  Y.,  is  one  of  the  oldest  as  well  as  best  insti- 
tutions of  its  kind  in  the  United  States.  It 
was  founded  in  January,  1854,  by  L.  II.  Sher- 
wood, father  of  the  celebrated  pianist  and 
composer,  Wm.  II.  Sherwood,  at  the  request 
of  numerous  friends,  who  had  observed  his 
special  aptitude  for  teaching.  The  primary 
object  of  the  school  is  a  thorough  instruction 
of  its  pupils  in  the  different  branches  of  music, 
both  theoretical  and  practical,  especially  of 
those  who  desire  to  become  teachers.  Some 
idea  of  the  success  which  has  attended  it  may 
be  inferred  from  the  fact  that  its  graduates  and 
elves,  scattered  all  over  the  country,  many  of 
whom  fill  positions  of  honor,  are  unusually 
successful.  A  special  and  very  excellent 
feature  of  the  school  is  the  giving  of  daily 
piano  lessons  to  the  students  individually. 
More  than  ordinary  attention  is  also  given  to 
the  classes  in  theory,  including  harmony,  and 
the  art  of  fingering ;  indeed,  the  Academy  is 
everywhere  noted  for  its  thorough  and  logical 
methods.  It  is  still  under  the  excellent  care 
of  its  founder. 


M. 


Maas,  Dr.  Loins,  well  known  both  in 
this  country  and  Europe  as  a  pianist  and  com- 
poser, was  born  at  Wiesbaden,  Germany,  June 
21,  1852.  His  father,  Theodor  Maas,  was  a 
music  teacher,  and  taught  him  the  rudiments 
of  the  art.  His  youth  was  mostly  spent  in 
London,  where  the  family  resided  from  1854, 
excepting  a  short  period.  He  was  placed  in 
the  King's  College,  from  which  he  graduated 
when  fifteen  years  of  age.  His  musical  tal- 
ents, which  were  early  manifested,  now  be- 
came so  strong  and  so  evident  that  the  same 
year  (  1867)  he  was  sent  to  the  Conservatorium 
at  Leipzig,  where  he  had  Reinecke  and  Pap- 
peritz  for  teachers.  He  remained  there  four 
years,  making  very  rapid  progress.  During 
this  time  he  made  hisdel'tit  at  a  concert  in  the 
Ducal  Theatre,  Weimar.  For  three  years  he 
studied  with  Liszt  during  the  summer,  and 
filled  concert  engagements  during  the  winter. 
By  this  time  his  reputation  as  a  composer  was 
becoming  extended.  A  string  quartet  of  his 
was  highly  praised  by  Liszt.  In  1875  he  was 
appointed  professor  of  the  piano  at  the  Leip- 
zig Conservatorium.  He  had  over  300  pupils 
there,  many  of  them  Americans. 

In  November,  1880,  he  came  to  the  United 
States,  landing  at  New  York.  He  soon  went 
to  Boston,  where  he  has  since  resided.  Dur- 
ing the  season  of  1S81-82  he  conducted  the 
concerts  of  the  Philharmonic  Society,  Boston, 
in  a  brilliant  and  successful  manner.  He  has 
since  often  appeared  in  the  principal  cities  of 
this  country  and  always  with  uniform  success. 
Dr.  Maas  possesses  a  technique  which  is  as 
nearly  as  possible  perfect.  In  the  most  rapid 
passages,  even  though  pianissimo,  every  note 
may  be  distinctly  heard,  and  this  clearness  of 
touch  is  not  lost  in  the  forte  passages.  His 
playing  is  refined  and  delicate,  but  does  not 
lack  spirit  and  fire  ;  indeed,  it  is  of  sufficient 
breadth  to  include  every  class  of  composition, 
and  justly  ranks  him  among  the  foremost  pian- 
ists of  our  times.  His  compositions  are  of 
high  order,  and  consist  of  overtures,  sympho- 
nies, string  quartets,  concertos,  characteristic 
pieces,  piano  pieces,  etc.     His  second  (Amer- 


ican) symphony,  op.  15,  is  a  work  of  import- 
ance. It  consists  of  four  divisions,  1.  "Morn- 
ing on  the  Prairies,"  2.  "The  Chase"  (Scher- 
zo) presto,  3.  "An  Indian  Legend,"  adagio- 
andante,  4.  "Evening,  Night,  and  Sunrise." 
It  was  suggested  to  him  while  crossing  the 
great  prairies  of  the  West,  and  is  dedicated  to 
Ex- President  Arthur.  Rendered  for  the  first 
time  at  the  Music  Hall,  Boston,  Dec.  14, 
1883,  with  great  success. 

Macy,  James  C,  song  writer,  was  born  at 
New  York  City  about  1840  and  educated  at 
Elmira,  N.  Y.  For  many  years  he  has  resid- 
ed in  the  West,  and  has  for  a  long  lime  been 
connected  with  the  music  publishing  house  of 
S.  Brainard's  Sons,  Cleveland.  Among  his 
most  popular  songs  are  "Baby  Mine,"  "Don't 
be  Crying,  Little  Girl,"  "Down  by  the  Gar- 
den Wall,"  "Echoes,"  "Little  Vacant  Chair," 
"Somebody's  Coming  when  the  Dewdrops 
Fall,"  and  "When  My  Rover  Comes  Again." 
Of  his  popular  piano  pieces  we  may  name 
"First  of  the  Season"  galop,  "Belles  of  Vir- 
ginia Waltzes,"  "Beta  Theta  Pi  Waltzes," 
and  "Saratoga  Life"  galop.  Mr.  Macy  has 
written  anthems,  hymn  tunes,  etc.,  and  com- 
piled several  collections  of  music.  He  fre- 
quently writes  under  the  names  of  "Marion," 
"Collin  Coe"  and  "Rosabel." 

Main,  Sylvester,  was  born  April  18, 
1817,  at  Weston,  Conn.,  and  became  a  teacher 
of  music  when  only  fifteen  years  old.  In  1853 
he  went  to  New  York,  associated  himself  with 
I.  B.  Woodbury  in  editing  music  books,  and 
afterwards  with  W.  B.  Bradbury.  He  was 
teacher,  composer  and  conductor,  and  for 
some  time  editor  of  the  "New  York  Musical 
Review."  In  conjunction  with  L.  H.  Big- 
low  he  formed  the  music  publishing  house  of 
Biglow  &  Main,  successors  to  W.  B.  Brad- 
bury. He  edited  or  assisted  in  editing  more 
than  twenty  collections  of  music,  mostly  for 
the  church.  His  death  took  place  October  5, 
1873,  at  Norwalk,  Conn. 

Main,  Hubert  PlatT,  was  born  Aug.  17, 
1839,  at  Ridgefield,  Conn.,  and  when  ten 
years  old  was  able  to    readily    read    music    at 


no  HANDBOOK    OF    AMERICAN"    MUSIC    AND    MUSICIANS. 

sight.      In  1855  he  cnmmenced  writing    hymn  of  age.      In   1817    he    commenced    teaching, 

tunes,  and  afterwards  assisted   both    Bradbury  '  and  soon  after  composing.      He    published    at 

and  Woodbury  in  compiling  and    editing    nu-  Schenectady,    N.  V.,    three   juvenile   singing 

merous   collections  <>f   music.        He    became  |  books.      He  also  wrote    two    cantatas,     "The 

connected  with   the  house   of  Biglow  &  -  r"    and    "King    of   the    Forest."      One 

in  1S68,  since  when    he    hr.s    had     a    general  alone  of  his  tunes,  "Martyn,"   will  perpetuate 

oversight  of  the  business,  but  devotes  some  of  his  name  for  many  years  to  come.      His  death 

his  time  to  composition.      He  has  written  con-  occurred  in  1875 

siderable  music  for  the  church,  and  edited  Mason  &  Hamlin  Organ  and 
many  of  the  books  published  by  the  firm  with  Piano  Company,  BOSTON,  Mass.  This 
which  he  is  connected.  firm,  though  not  the  oldest,  rank-,  among  the 
3Iann,  Ki.ias,  American  psalmodist,  was  very  foremost  of  American  reed  organ  man-t- 
horn in  1 750,  at  Weymouth,  Mass.  He  was  facturers,  a  position  which  it  has  long  held, 
for  many  years  a  teacher  of  singing  at  North-  The  business  of  the  firm  was  founded  April 
ampton,  Mass.,  whei  e  he  published  in  1778  10,  1854,  by  Henry  Mason,  a  son  of  Dr.  Lowell 
"The    Northampton    Collection."       He    also  Mason,  and  Emmons  Hamlin,  who  had   been 


publ:shed  some  music  books  at  Dedham, 
Mass.,  and  in  1807  "The  Massachusetts  Col- 
lection," issued  at  Boston.  His  death  took 
place  at  Northampton,  May  12,  1825. 


a  workman  in  the  establishment  of  George  A. 
Prince  &  Co  ,  of  Buffalo,  N.  V.  These  two 
gentlemen  possessed  all  the  qualifications, 
both   musical    and  mechanical,  necessary  for 


31aretzek,    Max,    well-known    in     this    producing    the  best  instruments.     Of   course, 


country  as  an  impresa:ic,  composer  and  vocal 
teacher,  was  born  at  Brunn,  Austria,  in  June, 
1^22.  After  attending  school  in  his  native 
place,  he  went  to  Vienna  and  graduated  from 
the  University  there.  He  then  took  np  the 
study  of  medicine,  which  he  pursued  for  two 
years,  at  the  same  time  receiving  lessons  in 
theory  and  composition  from  kapellmeister  Rit- 
t  -t   von  Seyfried.     Becoming   disgusted    with 


at  first  the  business  of  the  firm  was  quite  lim- 
ited, and  during  the  first  year  they  turned  out 
only  459  melodeons.  which,  however,  was  a 
good  number  for  that  time.  From  this  begin- 
ning the  business  rapidly  increased.  January 
28,  1S68,  the  name  of  the  firm  was  changed 
to  Mason  ii  Hamlin  Organ  Company,  Messrs. 
Henry  Mason  and  Emmons  Hamlin  being 
actively  connected   with    the  management  of 


medicine,  he  devoted  his  whole  time  to  music,  the  Companv.     About   this  time  the  firm  was 

He  commenced  writing  operas,  among  which  strengthened    by    the    admission    of    Lowell 

is  "Hamlet"  (1S43.,  but    finding    that    it    did  Mason,    also    a    son    of  Dr.    Lowell   Mason, 

not  prove  remunerative,  turned    his    attention  Lowell  filled  the  office  of  president   until  his 

to  composing  dance  pieces,  which  were  more  death,  Oct.  ic,  1885.      Henry,  formerly  treas- 

profitable.     After   this  he  kcatne    conductor  urer,  is  now  president. 

of  an  orchestra,    with    which   he    successfully        Messrs.    Mason  Ok  Hamlin  at  first  mannfac- 

visited  many  of  the  principal  cities  of  Europe,  tured  only  melodeons,  the  melodeon  being  at 

.-  became  to    the    United    States,     and  that  time  the  chief  and  best  reed  instrument, 

engaged  in  conducting    an    orchestra.     Since  It  was  in  1847   lnat  Mr.  Hamlin    of  the  firm, 

that  time  he  has  been  the   manager    of    many  then    in    the    employment    of  Prince    Csc  Co., 

operatic  enterprises,    meeting    with    varying  made  his  great  improvement  in  the  voicing  of 

success.     His  schemes,  when  trying  to  elevate  the  reeds.     This  consisted  in  slightly  bending 

art,  have  generally  exhibited  a  wrong  balance  and  twisting  the  tongue  cf  the  reed  in  a  pecul- 

sheet,  but  when  trying  to  amuse    the    masses  iar    manner.     The    result  was   that  the  tone, 
have  proved    correspondingly    remunerative,  :  which  before   had  been    thin   and  sharp,  now 

Mr.  Maret^ek,  though   nearly  sixty-four  years  became  more  musical.    It  is  no  exaggeration  to 
old,  is,  as  he  humorously  puts  it,    "still    _  at  this  one  improvement  more  than  every - 

and  kicking,"'  being  actively  engaged   in   the  thing  else  combined  has  saved  the  reed  organ 
operatic  field.  railing  into  oblivion,  and  made  it  worthy 

MiUrsllj  S  Btlklf.y,  was  born  June  to  rank  among  other  modern   musical   instru- 

-      ,    at  Sherburne,  Chenango  Co.,  N.  V.,  ments.     This  improvement,  when  applied  to 

and  sang  in  a  church  choir  when   eight  years  melodeons,  contributed  greatly  to  the:: 


HANDBO 


and  was  soon  adnr  rrxaker. 

In  1S61,  ihe  firm  introduced  the  first  cabinet 
or  parlor  organ  in  its  present  f 
street.  very  materially  from   the 

melodeon,  and  had  a  fuller  and  more  power- 
ful tone.  The  p-  F  the  melodeon 
soon  began  to  wane  before  this  formidable 
rivaL  As  a  name,  organ  was  very  wisely 
chosen,  the  terms  reed,  cabinet,  or  parlor, 
being  used  to  di-  from  the  pipe 
organ.  The  manufactured 
by  the  .  -ilin  Organ  and  Piano  Co. 
are  of  almc  -  5.ad  size,  and  range 
in  price  from  -_  -  me  of  them 
are  fc.  .  all  pipe  organs  in  power 
and  resource-  The  present  large  factories  oi 
the  firm  are  located  in  Cambridgeport. 
and  were  erected  about  :  -  .-.ardly 
necessary  to  add  that  they  are  built  oa  the 
most  improved  plans  and  with  every  possible 
conve  .  -inery  of  the  most  perfect 
kind  as  well  as  the  most  skilled  workmen  are 
employed.  The  result  is  that  the  Mason  & 
in  organs  combine  thorough  workman- 
ship, so  essential  to  lasting  qualities,  with  an 
.  ey  are  well  known  in  for- 
eign countries,  the  exports  being  very  large, 
and   the   name   in  this  country   i 


e   since  the  Company  began  ex- 
in   the    manufacture    of  pianos, 
resulting  in   several  practical  improvements, 

i-  :  :~    :  s:2  i .  ;-_■'.   :':.-  \  .-..^-.      '  '  -       ~s.-  - 
Z  "    :*     ■_•       "  -•  .  ■  .■       A -  --  '  ---- r -""-'.■ 

stej ,  the  name  «>f  the  firm  was  changed  to 
Hurmi  "g£u  »»d  Pkjm»  Company, 

by  an  act  of  the  Legisiatttre  of  Massachusetts. 
.'.::•-      ....-_•"-■.-.-:..- ■  .V    ■---  ::':.'.--. 

'  •::-.:     :'  "-.    . --   "---       i-  -::-.-.         '.--■. 
only  npright  pianos  have  been  manufactured, 
but  they  have  been  received  with  remarkable 
favor  by   musicians  and  artists  through  out  the 
.      r ..--.-'.  .y  •  z.-—:r.  :::   -    _;-   --;  .":        -      :' 

trodBced  is  a  new  system  of  stringing,  where - 
by  the  liability  of  the  "instrument  to  get  oat  of 
tone  is  reduced  to  a  very  small  minimum. 

T:.;  :.     ■  -      ~  .-.      :    ■::-.  •-    --  -..!-..    :-         :  -  - 


the  following  cities :     Xew  Vork, 
Chicago,    London,   Vienna,    ai 

-r-       -i     :     -.-.~  .--     '.-.      --:-     .    ::      --". 

— ML 


Magm,  1  -   i=:c  in 

.  I ,  was  born   J  ■     :  -    : 

Mass.  He  early  manifested  the 
bent  of  his  nature  for  music,  in  which  he  in- 
structed himself  by  patient  and  persevering 
study.  sen  years  old  he  took  charge 

of  the  .  ilfage  church,  and  about 

the  same  time  began  teaching,  in  which  ca- 
pacity   he    afterwards   distinguished   fai 
In  1812   he  went  to  Savar.r  ;lerk 

in  a  bank  there,  meanwhile  continuing  to 
practice,  teach,  and  conduct.  With  the  aid  of 
Abel  he  edited  a  collection  of  church 
tunes,  mostly  arranged  from  the  works  of 
Beethoven,  Haydn  and  Mo,:  --.pub- 

lished by  the  Handel  ai; 

Bostor.  I&S2  r/he  work  was  very  success- 
ful and  greatly  aided  the  society,  then  in  its 
infancy,  but  Mason's  name  was  almost  entirely 
suppressed.  This  led  to  his  removing  from 
Savannah  to  Boston,  in  182-     where  lie 

in  vocal  instruction  and  became  prom- 
identified  with  musical  afiairs.  The 
same  year  be  became  president  of  the  society 
which  had  published  his  first  work,  retaining 
the  position  for  five  years.  In  1832  he  estab- 
lished the  Boston  Academy  of  Music,  and  bad 
a  worthy  co-laborer  in  the  person  of  George 
James  Webb.  About  this  date  he  became  an 
advocate  of  the  Pestalozrian 
formed  classes  in  it-  In  1838  he 
the  power  of  teaching  music  in  all  the  public 
schools  of  the  city,  shortly  before  which  he 
---  •--  :.-.:-.  :  -  .  -:  r.z  -.—  '_.  1  ... 
TKWs,  -ich  are  now  held  in  all 

parts  of  the  country.  He  made  his  first  visit 
to  Europe  in  1837,  with  a  view  of  studying 
and  becoming  acquainted  with  the  methods  of 
teaching,  particularly  in  Germany.  The  im- 
]■---.  :...--:-.-  -  :-.;-.-  ..----.  . .- .  -r 
into  a  volume  and  published,  under  the  title 
of  "  Musical  Letters  from  Abroad,"  at  New 
Vork  :  -  -egree  of  Doctor  of  Mu- 

sic, the  first  one  conferred  by  an  American 
institution  of  learning  and  very  w 
was  bestowed  by  the  Xew  York  University  in 
He  was  for  many  years  prominently 
connected  with  the  Public  Board  of  Education 
of  Massachusetts.  During  the  whole  of  his 
career  his  pen  was  never  idle,  but  he  was  con- 
stantly editing  and  compiling  collections  <<f 
:  err  purpose  and  to  every 
of  singers.     These  works,  whk 


92 


HANDBOOK   OF   AMERICAN    MUSIC   AND    MUSICIANS. 


numbered  by  the  dozens,  had  an  enormous 
sale  and  brought  their  author  a  fortune.  The 
latter  part  of  his  life  was  spent  at  Orange, 
New  Jersey,  where  his  sons  resided  and  where 
he  died,  greatly  esteemed  and  regretted,  Aug. 
II,  1872. 

Dr.  Mason  ranks  foremost  among  early 
American  musicians.  He  commenced  his 
work  at  a  time  when  music  was  in  its  infancy 
here,  and  soon  aroused  an  interest  in  it  which 
had  been  little  dreamed  of  before.  How  great 
his  influence  was  can  never  be  ascertained. 
Suffice  it  to  say  that  it  is  still  being  felt.  He 
was  preeminently  fitted  for  a  teacher,  and  his 
talent  in  this  direction  almost  amounted  to 
genius.  As  a  composer  for  the  people  he  was 
not  far  behind,  so  that  his  precepts  were 
backed  by  example,  thus  giving  him  a  power 
not  otherwise  obtainable.  He  was  not  an 
educated  musician  in  the  sense  in  which  the 
term  is  now  used,  but  well  fulfilled  his  mis- 
sion. His  taste  for  anything  concerning  mu- 
sic is  shown  by  the  care  with  which  he  col- 
lected his  fine  library  of  musical  works,  the 
best  in  the  country  (See  Musical  Libraries). 
Of  his  sons,  Lowell  and  HENRY  were  re- 
spectively president  and  treasurer  of  the  Mason 
&  Hamlin  Organ  and  Piano  Co.,  while  Will- 
iam is  a  pianist  and  composer.  Lowell 
recently  died.     See  preceding  article. 

3Iason,  Dr.  William,  third  son  of  the 
preceding  and  one  of  the  leading  musicians  of 
this  country,  was  born  at  Boston,  Mass.,  Jan. 
24,  1829,  not  in  1828,  as  is  often  stated.  His 
musical  inclinations  were  manifested  at  a  very  | 
early  age,  and  when  scarcely  three  years  old  i 
he  would  go  to  the  instrument  and  pick  out  har-  j 
monies  (in  preference  to  melodies),  those  in  | 
the  minor  mode  pleasing  him  best.  When  ] 
seven  years  old  he  was  allowed,  on  one  occa-  | 
sion,  to  play  the  organ  at  Bowdoin  Street 
Church,  Boston,  accompanying  the  choir  j 
while  they  sang  the  familiar  church  tune  of  I 
"  Boylston."  His  father  stood  behind  him 
and  filled  in  the  interludes  between  the  stanzas. 
At  this  time  he  would  repeat  on  the  piano  any 
piece  which  he  might  have  heard  on  the  street , 
or  elsewhere.  This  was  gratifying  to  his 
father,  who,  strange  as  it  may  seem,  took  no  ', 
pains  to  cultivate  or  encourage  his  son's  j 
talent.  The  young  man,  however,  persevered,  j 
and  carefully  studied  all  the  books  which 
came    in    his    way.     In  1844  or  1845  ne   was 


placed  under  the  care  of  Rev.  Dr.  Thayer  of 
Newport  for  intellectual  training.  On  return- 
ing to  Boston  he  became  organist  of  his  father's 
choir, and  took  piano  lessons  of  Henry  Schmidt. 
His  father's  wish  was  that  he  might  enter  the 
ministry,  but  the  parent  wisely  decided  that 
nature's  calling  was  paramount  to  his  own 
desires,  and  in  the  spring  of  1849  the  young 
musician  was  sent  to  Germany  for  a  thorough 
musical  education.  He  first  went  to  Leipsic, 
where  he  studied  the  piano  under  Moscheles, 
harmony  under  Hauptmann,  and  instrumenta- 
tion under  Richter.  Subsequently  he  studied 
the  piano  under  Dreyschock  at  Prague,  and 
finally  under  Liszt  at  Weimar.  While  at 
Liszt's,  during  a  portion  of  1853  and  1854  he 
had  as  fellow  pupils  von  Billow,  Pruckner, 
Klindworth,  Hartmann,  Schreiber,  and  others 
who  have  since  become  famous.  During  his 
stay  abroad  he  resided  for  a  short  period  in 
Hamburg,  Dresden,  and  Frankfort,  as  well  as 
visited  other  important  German  cities.  He 
successfully  appeared  in  public  as  a  player  at 
Prague,  Frankfort,  and  Weimar,  and  in  1S52 
made  a  short  visit  to  London,  where  he  ap- 
peared at  the  "London  Harmonic  Union  So- 
ciety's" concert  at  Exeter  Hall  and  played 
Weber's  Concertstiick.  In  July,  1S54,  he  re- 
turned home,  and  shortly  after  set  out  on  a 
concert  tour,  first  playing  in  Boston,  then  in 
New  York,  and  then  in  the  larger  cities  of 
New  England,  New  York  State,  Ohio,  etc., 
finally  arriving  in  Chicago.  On  the  return 
trip  the  concerts  were  repeated,  always  with 
success.  Mr.  Mason  was  entirely  unassisted, 
the  programs  consisting  only  of  piano  pieces. 
Concert  giving,  however,  was  not  at  all  to  his 
taste,  and  after  this  tour  he  settled  in  New 
York,  where  he  mainly  devoted  himself  to 
teaching.  In  1855  he  established,  in  conjunc- 
tion with  Carl  Bergmann,  Theodore  Thomas, 
Joseph  Mosenthal  and  G.  Matzka,  a  series  of 
classical  soirees,  at  which  instrumental  works 
by  the  great  masters  were  performed.  Many 
of  Robert  Schumann's  works  were  thus  first 
introduced  in  this  country.  At  the  end  of 
about  a  year  Bergmann  withdrew  and  was  suc- 
ceeded by  F.  Bergner.  The  concerts  were 
continued  twelve  years,  and  became  widely 
known  as  the  "  Mason  and  Thomas  Soirees  of 
Chamber  Music."  March  12,  1857,  Mr. 
Mason  was  married,  at  Boston,  to  Miss  Mary 
Isabella    Webb,    eldest    daughter    of   George 


HANDBOOK    OF   AMERICAN   MUSIC   AND    MUSICIANS. 


93 


James  Webb,  for  many  years  his  father's  able 
colleague.  For  several  years  he  was  organist 
of  Dr.  Alexander's  (now  Dr.  Hall's)  church, 
New  York,  and  has  acted  in  that  capacity  in 
the  Orange  Valley  Congregationalist  Church, 
Orange,  N.  J.  He  has  for  about  fifteen  years 
been  a  resident  of  Orange,  anil  as  it  is  only  a 
short  distance  from  New  York,  he  makes 
almost  daily  trips  to  the  city,  where  he  has 
numerous  classes  of  pupils.  His  degree  of 
Doctor  of  Music  was  bestowed  by  Yale  Col- 
lege, in  July,  1872. 

Mr.  Mason's  reputation  is  not  exclusively 
American,  for  he  is  well  known  in  Europe 
also.  It  is  as  a  teacher  that  he  is  particularly 
happy,  and  in  which  field  he  is  doing  a  good 
work.  As  a  composer,  however,  he  takes  the 
foremost  rank.  His  pieces  are  all  character- 
ized by  a  clear  and  perfect  form,  a  high  pol- 
ish, and  elegance  and  refinement.  They  are 
thoroughly  classical,  and  many  of  them  will 
not  at  all  suffer  in  comparison  with  any  pieces 
of  their  class  ever  produced.  He  has  never 
pandered  in  the  least  degree  to  the  popular 
taste,  and  his  smaller  compositions  are  finished 
with  as  much  care  as  his  larger  ones.  To  his 
credit  it  may  be  stated  that  he  has  not  written 
a  single  operatic  fantasia  or  a  variation  on  any 
familiar  melody.  Though  he  has  composed 
some  polkas,  rondos,  etc.,  he  delights  in  the 
higher  forms  of  piano  pieces,  in  which  he  is 
fairly  represented  by  the  "  Berceuse  "  and 
"  Reverie."  The  following  is  a  complete  list 
oi  his  works,  and  if  not  large,  is  one  in  which 
every  number  is  worthy  of  attention  : 

Op.    1.  Deux  Romances,  sans  paroles. 

"  2.  Les  Perlesde  Rosee.    Melodie  variee. 

"  3.  Impromptu. 

"  4.  Amitie    pour    Amitie.     Morceau    de 

Salon  (Also  for  four  hands). 

"  5.  Yalse  de  Bravoure. 

"  6.  Silver  Spring. 

"  7.  Trois  Valses  de  Salon. 

"  S.  Trois  Preludes. 

"  9.  Etude  de  Concert. 

"  10.  Lullaby. 

"  11.  Concert  Galop. 

"  12.  Ballade,  in  B  major. 

"  13.  Monody.      Clavierstiick. 

"  14.  Polka  Gracieuse. 

"  15.  Ballade  et  Barcarole. 

"  16.  Danse  Rustique. 

"  17.  Valse  Caprice. 

"  18.  "Bittle-it"   Polka. 

"  19.  Deux   Reveries.      No.  1.   Au  Matin; 

No.  2.    Au  Soir. 

"  20.  Spring  Dawn.      Mazurka  Caprice. 


"  21.      Spring  Flower.      Impromptu. 

"  22.  Caprice  Grotesque.  "Ah!  vous  dir- 
ais-je,  Maman." 

"  23.  Deux  Humoresques  de  Bal.  No.  1. 
Polka  Caprice.  No.  2.  Mazurka 
Caprice. 

"  24.     Reverie  poetitjue. 

"   25.      "So-so"  Polka. 

"  26.  Teacher  and  Pupil.  Eight  duos  for 
four  hands. 

"  27.     Badinage.   Amusement.    Four  hands. 

"  2S.      Valse  Impromptu. 

"  29.      "Pell-Mell."     Galop  fantastique. 

"  30.     Prelude  in  A  minor. 

"  31.  Scherzo  (No.  1),  Novelette  (No.  2), 
Two  Caprices. 

"  32.     Romance  Etude. 

"  ^^.      La  Sabotiere.      Danse  aux  Sabots. 

"  34.     Berceuse. 

"  35.     Three  Characteristic  Sketches. 

"  36.     Dance  Caprice. 

"  37.     Toccata. 

"  ^8.     Dance  Antique. 

"  39.  Serenata.  Piano  and  violoncello.  Al- 
so as  piano  solo. 

"  40.     Melody. 

"  41.      Scherzo. 

"  42.      Romance — Idyl. 

"  43.     Minuet. 

In  addition  to  the  above  he  has  written  nu- 
merous instrumental  and  vocal  pieces,  four- 
part  songs,  etc.,  not  included  under  opus 
number.  His  theoretical  works  consist  of 
"  A  Method  for  the  Pianoforte"  ( 1867),  in  the 
preparation  of  which  he  was  assisted  by 
E.  S.  Hoadly ;  "  System  for  Beginners  in  the 
Art  of  Playing  on  the  Pianoforte"  (1871),  in 
the  preparation  of  which  he  was  assisted  by 
E.  S.  Hoadly;  and  "Mason's  Pianoforte  Tech- 
nics" (187S),  in  the  preparation  of  which  he 
received  assistance  from  W.  S.  B.  Mathews. 
The  latter  is  his  most  important  work,  an  orig- 
in;.l  and  distinguishing  feature  of  which  is  the 
"Application  of  Rhythm  to  Exercises,"  or  the 
accentual  treatment  of  such  exercises  as  scales, 
arpeggios,  etc.  This  feature  was  embodied 
in  the  "Method  for  the  Pianoforte  "  (1867), 
but  only  fully  presented  in  the  later  work. 
Liszt  expressed  himself  highly  pleased  with  it 
(Letter  of  May  26,  1S69).  It  has  since  been 
incorporated  into  many  of  the  later  "methods" 
published  in  Germany,  as  well  as  in  this 
country. 

Massachusetts  Compiler.  A  col- 
lection of  church  music  edited  by  Oliver  Hol- 
den  and  Hans  Gram,  and  published  in  1795. 
It  contained  a  chapter  on  theory,  which,  ac- 
cording to  the  editors,  was  compiled  from 
some  of  the  best  foreign  works  then  published, 


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HANDBOOK   OF   AMERICAN   MUSIC   AND   MUSICIANS. 


and  one  on  singing,  which  advocates  a  fixed 
do.      In  the  preface,  the  authors  say  : 

"Many  American  votaries  of  sacred  music 
have  long  expressed  their  wishes  For  a  com- 
pendium of  the  genuine  principles  of  the 
science.  At  the  present  period  it  becomes 
necessary  that  greater  attention  be  paid  to 
every  means  for  improving  that  important  part 
of  divine  worship,  as  good  musical  emigrants 
are  daily  seeking  an  asylum   in  this  country." 

The  work  seems  to  have  been  successful. 
Its  theoretical  and  practical  parts,  together 
with  the  musical  dictionary  which  it  con- 
tained, occupy  36  quarto  pages,  and  the  selec- 
tions of  music  72  pages. 

Massachusetts  Musical  Society, 

The,  was  formed  in  1807  at  Boston,  and  was 
in  a  measure  the  predecessor  of  the  Handel 
and  Haydn  Society.  In  the  spring  of  that 
year  fifteen  persons  met  together  "for  the  pur- 
pose of  forming  themselves  into  a  society  for 
improving  the  mode  of  performing  sacred  mu- 
sic." A  constitution  and  by-laws  were  adopt- 
ed and  meetings  seem  to  have  been  held 
monthly.  The  formation  of  a  library  was  also 
commenced  and  the  membership  increased  to 
about  twe.ity.  The  society  continued  to  hold 
its  meetings  until  March  21,  1810,  when  it 
was  voted  to  sell  the  library  to  liquidate  its 
debts,  and  on  July  6th  of  the  same  year  it 
ceased  to   exist. 

Mathews,  William  S.  B.,  well-known 
as  a  teacher  and  critic,  was  bcrn  at  London, 
N.  H.,  May  8,  1S37.  His  father  was  a  clergy- 
man but  encouraged  his  son's  musical  talent, 
which  began  to  be  manifest  very  early.  He 
eagerly  availed  himself  of  every  opportunity 
which  came  in  his  way  to  gain  any  knowledge 
of  music.  When  about  eleven  years  old  he 
was  placed  under  the  care  of  a  Mr.  Folsom  of 
Lowell,  with  whom  he  studied  some  time.  He 
then  went  to  Boston  and  studied  under  L.  H. 
Southard,  also  receiving  some  advice  and  en- 
couragement from  Dr.  Lowell  Mason.  He 
commenced  his  career  as  a  teacher  of  music 
by  accepting  a  position  in  Appleton  Academy, 
Mount  Vernon,  N.  H.,  in  March,  1852,  being 
then  not  yet  fifteen  years  of  age.  After  this 
he  taught  at  various  places  in  Massachusetts, 
New  York  and  Illinois.  All  the  regular  in- 
struction he  ever  received  toward  a  general 
education  was  at  the  district  school  and  a  sem- 
inary at   Saw  bornton    Bridge,    N.    II.      Being 


denied  the  privilege  of  a  college  course,  he 
dilligently  applied  himself  to  study,  and  ac- 
quired a  knowledge  of  Latin,  Greek,  French, 
German,  etc.  He  is  also  well-read  in  meta- 
physics, belles-lettres  and  theology. 

In  i860  he  accepted  a  call  as  professor  of 
music  in  a  seminary  at  Macon,  Ga.,  where  he 
received  some  help  from  Rev.  J.  U.  Bonnell, 
its  president.  Upon  the  breaking  out  of  the 
Civil  War  in  1861,  he  was  forced  to  resign  his 
position  at  the  seminary,  but  continued  to  give 
private  lessons,  teaching  successively  at 
Macon,  Danville,  W.  Va.,  and  Marion,  Ala. 
This  was  indeed  a  gloomy  period  in  his  career. 
During  part  of  the  time  he  is  said  to  have  had 
only  two  music  books,  Beethoven's  sonatas 
and  Bach's  "Well-Tempered  Clavier,''  having 
been  seperated  from  his  library.  After  the 
close  of  the  "war  he  returned  North,  and  in 
January,  1867,  became  organist  of  the  Centen- 
nary  M.  E.  Church,  Chicago,  a  position  which 
he  still  (1S83)  holds.  In  November,  186S,  he 
assumed  the  duties  of  editor  of  the  "  Musical 
Independent,"  published  by  Lyon  &  Healy, 
Chicago,  but  this  paper  ceased  with  the  great 
Chicago  fire  in  October,  187 1.  He  was  ap- 
pointed editor  of  the  "Song  Messenger" 
(Root  &  Cady,  Chicago)  in  1872,  but  it 
changed  hands  in  1873,  when  Mr.  Mathews' 
connection  with  it  ceased.  He  has  for  several 
years  been  professor  of  music  at  Highland 
Hall,  a  seminary  for  young  ladies  at  Evans- 
ton,  near  Chicago.  He  has  also  for  some 
time  held  summer  musical  institutes. 

Mr.  Mathews  occupies  a  place  among  the 
foremost  of  piano  teachers  in  this  country, 
and  makes  a  specialty  of  phrasing  and  inter- 
pretation. He  has  educated  several  excellent 
players.  As  a  writer  and  critic  he  is  hardly 
less  prominent.  He  has  contributed  many 
articles  to  the  various  musical  publications  of 
this  country,  and  is  not  unknown  by  his  pen 
outside  of  the  circles  of  music.  His  writings 
are  all  characterized  by  clearness  and  force, 
indicative  of  a  thorough  mastery  of  the  sub- 
ject as  well  as  a  logical  mode  of  thinking. 
At  present  he  is  connected  with  the  "Chicago 
.Morning  Herald"  as  musical  critic  and  special 
editorial  writer.  He  has  as  yet  written  no 
music,  but  devotes  himself  exclusively  to 
teaching  and  writing.  The  following  is  a  list 
of  his  works  that  have  appeared  in  book  form  : 
"Outline  of  Musical  Form,"  12  mo.,  published 


HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


95 


by  Ditson  &  Co.,  Boston  (1S67);  "How  to 
Understand  Music"  (1880),  a  rather  unique 
work  of  225  pages,  with  which  is  connected 
a  "Dictionary  of  Music  and  Musicians,"  very 
handy  for  reference;  "Studies  in  Phrasing, 
Memorizing,  and  Interpretation"  (1881);  and 
"  How  to  Teach  the  Pianoforte"  (now  in 
course  of  preparation).  He  also  assisted  in 
preparing  "Emerson  Organ  Method,"  by 
L.  O.  Emerson,  and  wrote  the  letter- press  part 
of  "  Mason's  Pianoforte  Technics"  (1878). 

Matzka,  GEORGE,  was  born  at  Coburg, 
Germany,  in  1825,  and  at  the  age  of  seventeen 
years  became  member  of  the  court  orchestra 
of  his  native  city,  where  he  received  his  musi- 
cal education.  He  came  to  this  country  in 
1852,  settled  in  New  York,  and  became  a 
member  of  the  Philharmonic  Society,  of  which 
he  has  been  one  of  the  directors  for  a  number 
of  years.  Among  his  compositions  are  several 
overtures  (that  of  "Galileo-Galilei"  was  given 
by  the  Philharmonic  Society),  two  string  quar- 
tets, a  sonata  for  piano  and  violin,  a  number 
of  male  choruses  and  songs,  etc. 

May  Festivals.  These  festivals,  for 
musical  importance  and  far-reaching  results,  it 
must  be  admitted  by  everyone,  take  the  lead 
of  all  the  festivals  in  this  country.  Europe, 
with  all  its  culture  and  centuries  of  musical 
life,  can  produce  nothing  superior  if  equal  to 
them  in  artistic  excellence  and  freedom  from 
everything  objectionable.  It  would  be  diffi- 
cult to  arrange  festivals  on  a  plan  belter  calcu- 
lated to  advance  the  art  and  elevate  the  public- 
taste. 

The  first  May  Festival  was  held  at  Cincin- 
nati, in  the  Exhibition  Hall,  May  6th,  7th,  8th, 
c,th,  and  10th,  1873,  the  year  following  the 
last  great  Peace  Jubilee,  which  probably  had 
considerable  influence  toward  its  establish- 
ment. (See  Peace  Jubilee).  Theodore 
Thomas  was  the  conductor,  assisted  by  Otto 
Singer.  Mr.  Thomas  has  been  conductor  at 
all  of  the  Festivals  since  and  Mr.  Singer  his 
assistant  until  1882.  The  chorus  numbered 
850  voices  and  the  orchestra  107  performers. 
Among  the  soloists,  some  of  whom  were  resi- 
dents of  Cincinnati,  were  Mrs.  Smith,  Mrs. 
Dexter,  Miss  Cary,  and  Messrs.  M.  W.  Whit- 
ney, and  J.  F.  Rodolphson.  The  principal 
works  rendered  were 

Dettingen  Te  Deuni,  -         Handel, 

Jubilee  Overture,  -  Weber, 


Bach, 

Schumann, 
Beethoven, 


Suite  No.  3, 
Symphony  No.  2, 
Ninth  Symphony, 

with  selections  from  "Tannhauser"  ( Wagner), 
•'.Midsummer  Night's  Dream"  (Mendelssohn), 
"Orpheus"  (Gluck),  "Creation"  (Haydn), 
"  Magic  Flute"  (Mozart),  and  "Die  Meister- 
singer  von  Ntirnberg"  (Wagner).  The  Festi- 
val, despite  the  high  order  of  the  music  pre- 
sented, was  a  decided  success,  showing  that 
Americans  then  knew  how  to  appreciate  the 
best  music,  and  even  the  "music  of  the 
future." 

The  second  Festival  was  held  at  Cincinnati, 
May  nth,  12th,  13th,  and  14th,  1875.  lne 
general  features  were  the  same  as  those  of  the 
first  Festival,  and  the  program  and  its  rendi- 
tion of  fully  as  high  order.  The  soloists  were 
Mrs.  Smith,  Miss  Cary,  Miss  Whinnery,  Miss 
Emma  Cranch,  and  Messrs.  Whitney,  Bischoff, 
Remmertz,  and  Winch.  Chief  among  the 
works  performed  were  "Triumphal  Hymn  " 
(Braham),  Seventh  Symphony  (Beethoven), 
"Elijah"  (Mendelssohn),  Magnificat  (  Bach), 
Ninth  Symphony  (Beethoven),  Symphony  in 
C  (Schubert),  and  "Prometheus"  (Liszt), 
with  selections  from  other  works.  The  cho- 
rus was  790  strong,  and  the  orchestra  of  about 
the  same  strength  as  in  1873. 

The  third  Festival,  which  was  held  in  Cin- 
cinnati, May  14th,  15th,  16th,  and  17th,  1878, 
was  in  many  respects  more  notable  than  any  of 
the  rest.  During  the  three  years  which  had 
elapsed  between  this  and  the  preceding  Festi- 
val, the  Cincinnati  College  of  Music  had  sprung 
into  existence.  A  building  had  been  erected 
for  its  occupation,  and  it  was  in  the  music  hall 
of  this  Uiat  the  Festival  took  place.  The  great 
music  hall  organ,  built  by  Messrs.  Hook  & 
Hastings  of  Boston,  one  of  the  very  largest  and 
best  in  America,  had  just  been  completed. 
Indeed,  everything  seemed  to  contribute  to  the 
success  of  the  Festival,  and  the  enthusiasm  of 
the  people  of  the  city  was  unbounded.  Musi- 
cally, the  Festival  was  fully  up  to  previous 
standards.  The  chorus  was  not  quite  so  large 
as  that  of  1873  or  °*  J^75'  numbering  about  700, 
but  thoroughly  drilled.  The  orchestra  was 
Thomas',  and  composed  exclusively  of  New 
York  musicians.  It  numbered  106  pieces. 
The  solo  singers  were  Mrs.  Osgood,  Mine. 
Pappenheim,  Misses  Cary,  Cranch,  and  Roll- 
wasren,   and   Messrs.   Adams,  Fritsch,  Taglia- 


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HANDBOOK   OF   AMERICAN    MUSIC   AND   MUSICIANS. 


pietra,    Whitney,     and    Remmertz.     Gluck's 

"  Alceste,"  Beethoven's  Eioica  Symphony, 
Handel's  "Messiah,"  Beethoven's  Symphony 
No.  9,  in  D  minor  (op.  125),  and  Liszt's  Mh.sa 
Solennis,  were  the  chief  works  rendered. 
The  net  proceeds  of  the  Festival  were  about 
£25,000. 

Commencing  with  1878,  the  Cincinnati  Fes- 
tivals have  been  regularly  held  every  two 
years.  The  Festival  of  1880  was  held 
May  18th,  19th,  20th,  and  21st.  The  chorus 
numbered  about  600  trained  singers,  and  the 
orchestra  about  156  instrumentalists.  Misses 
Cary  and  Cranch,  and  Campanini,  Rodolpson, 
and  Whitney,  were  the  principal  soloists. 
The  most  important  works  given  were  Bach's 
«'Ein'  Feste  Burg,"  Mozart's  "Jupiter"  Sym- 
phony, Handel's  Jubilate,  Beethoven's  Mass, 
(op.  123),  Schumann's  Symphony  (op.  120), 
Beethoven's  Fifth  Symphony,  and  Buck's 
"  Golden  Legend." 

The  Festival  of  1882,  which  was  held  May 
16th,  17th,  18th,  and  19th,  was  in  no  way  in- 
ferior to  any  of  the  previous  ones.  Mr. 
Thomas  was  ably  assisted  by  Arthur  Mees, 
who  had  charge  of  the  chorus.  Both  chorus 
and  orchestra  were  drilled  up  to  a  high  point 
of  perfection.  The  first  numbered  613  voices 
and  the  latter  165  performers.  There  was,  in 
addition,  a  boy  choir  of  100  voices,  used  in 
Bach's  passion  music.  The  principal  soloists 
were  Mme.  Materna,  Mrs.  Osgood,  Misses 
Cary  and  Cranch,  and  Messrs.  Carididus, 
Henschel,  Toedt,  Remmertz,  Whitney,  and 
Sullivan.  The  program,  which  was  fully  up 
to  the  standard  of  previous  ones,  we  give  in 
full. 

FIRST    DAY. 

Requiem,  -  Mozart. 

Symphony  in  F,  op.  93,  No.  8,  Beethoven. 

Rec.  and  Aria  from  "Fidelio,"  Beethoven. 

Dettingen  Te  Deum,      -  Handel. 

SECOND   DAY. 

Matiuec. 

Le  Nozze  di  Figaro  (selections),  Mozart. 

Symphony  in  A,  op.  92,  No.  7,  Beethoven. 

Overture  (Genoveva)  -  Schumann. 

Aria,  -  -  Bruch. 

Am  Meer,  Schubert. 

Duo,  ...  Mendelssohn. 

Dramatic  Symphony  ("Romeo 

and  Juliet"),  op.  17,  -  Berlioz. 


Passion  Music, 


Bach. 


THIRD    DAY. 

Maimer. 
Huldigungs     March,      selections 
from  "Lohengrin,"  "Die  Meis- 
tersinger  von  Nurnberg,"  "Das 
Rheingold,"   "Die  Walkure," 
and  "Gotterdammerung,"     -     Wagner. 
Evening. 
Symphony  in  C,  No.  9,  -  Schubert. 

Scenes  from  "Faust,"      -         -        Schumann. 

FOURTH    DAY. 

Mating. 

Euryanthe  (selections)  -  Weber. 

Concerto  in  G,  ...  Bach. 

Aria,      -----  Cluck. 

"In  Questa  Tomba,"  -  Beethoven. 

Duo,  ....  .  Berlioz. 

Symphony  to  Dante's  "Divine 

Comedia,"  -  -  Liszt. 

Evening. 

Forty-sixth  Psalm  (Prize  composi- 
tion),        -  Gilchrist. 

Movement  to  Orchestral  Symph,-  Rubinstein. 

Aria  from   "  Oberon,"  -  Weber. 

Fall  of  Troy  (selections)  -  Berlioz. 

Up  to  1880,  May  Festivals  were  held  only 
in  Cincinnati,  but  in  that  year  Cleveland  or- 
ganized one,  which  was  held  May  13th  and 
14th.  New  York  was  next  to  follow  with  a 
Festival  in  1881,  Chicago  coming  last  with  her 
first  Festival  in  1882.  These  Festivals  were 
all  modelled  after  those  of  Cincinnati  in  every 
important  respect.  During  the  year  of  1882 
there  were  four  May  Festivals  held,  all  in  the 
month  of  May,  viz  :  Cincinnati,  New  York, 
Chicago,  and  Cleveland,  all  but  the  last  named 
being  under  the  chief  direction  of  Mr.  Thomas. 
At  the  New  York  Festival  the  chorus  varied  con- 
siderably on  different  occasions,  but  averaged 
about  1800  voices  and  the  orchestra  300  per- 
formers. Among  the  principal  works  produced 
were  Mozart's  Jupiter  Symphony,  Handel's 
Utrecht  Jubilate,  Handel's  "Israel  in  Egypt," 
and  Beethoven's  Symphony  in  C,  and  his 
Missa  Solennis.  The  chorus  of  the  Chicago 
Festival  comprised  820  voices,  and  the  orches- 
tra was  172  strong.  The  program  was  simi- 
lar to  those  of  the  other  Festivals,  and  the  solo 
singers  were,  with  one  or  two  exceptions,  the 
same  as  those  engaged  for  the  Cincinnati 
Festival,  which  may  also  be  said  of  the  New 
York  and  Cleveland  Festivals.  At  the  Cleve- 
land Festival  the  chorus  numbered  250  voices, 
and  the  orchestra  50  performers 

The  benefit  of  these  Festivals  in  the  advance  • 
ment   of  the  divine  art  can  not  now  be   mens- 


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97 


ured  and  may  never  be  fully  known,  but  they 
are  at  least  worthy  of  the  unreserved  support  of 
every  lover  of  music. 

Mechanical  Orguinette.  The  name 

of  a  certain  class  of  mechanical  musical  instru- 
ments, which  have  lately  sprung  into  exist- 
ence. They  are  constructed  of  every  size, 
from  that  of  a  small  square  box  up  to  that  of  a 
diminutive  pipe  organ,  and  of  many  different 
styles,  some  resembling  reed  organs  and  some 
pianos.  The  music  is  produced  automatically, 
in  the  smaller  sizes  by  turning  a  crank  and  in 
the  larger  sizes  by  pedals,  by  passing  sheets 
of  paper  perforated  in  a  certain  manner 
through  the  instruments,  the  mechanism  being 
so  arranged  that  whenever  a  perforation  comes 
in  the  right  place  a  small  lever  passes  through, 
opens  a  valve,  and  produces  the  required  note. 
The  tone  of  these  instruments,  though  of 
course  not  equaling  that  of  the  reed  organ, 
is  not  bad.  They  may  be  of  service  in  some 
cases  where  musicians  can  not  be  obtained, 
or  where  persons  are  too  stupid  or  too  lazy  to 
learn  music,  but  they  have  no  permanent, 
artistic  value. 

Mees,  ARTHUR,  was  born  at  Columbus, 
Ohio,  Feb.  13,  1850.  While  obtaining  a  good 
thorough  general  education,  he  dilligently 
studied  the  piano  and  theory  of  music.  After 
having  graduated  from  college  and  spent 
some  time  in  teaching,  he  went  to  Germany, 
where  he  studied  the  piano  under  Kullak, 
theory  and  composition  under  Weitzmann, 
and  score-playing  and  chorus  training  under 
chapelmaster  Dorn.  Having  remained  abroad 
several  years,  he  returned  home  and  was  en- 
gaged as  one  of  the  teachers  in  the  College  of 
Music,  Cincinnati.  He  soon  withdrew,  and  in 
conjunction  with  Schneider  and  Foley  estab- 
lished the  Cincinnati  Music  School.  (See 
article  Cincinnati).  In  1SS2  he  was  ap- 
pointed conductor  of  the  Cincinnati  May  Fes- 
tival chorus,  a  position  which  he  still  holds. 
Under  his  care  the  large  chorus  has  reached 
a  high  degree  of  excellence,  which  demon- 
strates his  abilities  as  a  conductor  and  a 
musician. 

Melodeoil.  From  the  Greek  melos,  a 
song,  and  odeion.  In  this  country  the  melodeon 
was  the  direct  precursor  of  the  reed  organ. 
As    late  as    1S55  or  i<S(o,  it  was  very  popular 


and  almost  exclusively  manufactured,  the  reed 
organ  being  then  unknown.  The  larger  sizes 
had  a  case,  keyboard,  and  pedals,  like  those  of 
the  present  square  piano,  and  frequently  a 
compass  of  six  octaves.  The  tone  of  the  in- 
strument was  rather  sweet  and  melodious,  but 
lacking  in  power,  and  produced  from  only 
one  set  of  reeds.  When  the  reed  organ  was 
introduced  (i860),  with  its  more  powerful  and 
varied  resources,  the  melodeon  rapidly  dimin- 
ished in  favor,  and  is  not  now  manufactured. 
Good  specimens  are  frequently  to  be  met  with 
throughout  the  country. 

JVlerz,  Karl,  the  well-known  composer 
and  writer  on  musical  topics,  was  born  Sept. 
10,  1834,  at  Bensheim,  near  Frankfort-on-the- 
Main,  Germany.  His  early  musical  instruc- 
tion was  received  from  his  father,  who  was 
an  excellent  violinist  and  organist  of  the  prin- 
cipal church  in  that  town.  Some  lessons  in 
harmony  were  given  him  by  a  friend,  but 
these,  like  the  lessons  of  his  father,  were 
rather  irregular  and  desultory,  and  he  gained 
more  by  his  own  unaided  study.  When  not 
more  than  eight  or  nine  years  old  he  was 
able  to  play  the  violin  in  a  quartet  club  which 
met  at  the  residence  of  the  Baron  of  Roden- 
stein,  and  he  frequently  played  at  the  musical 
gatherings  at  the  castle  of  the  count  of  Schoen- 
berg.  On  arriving  at  the  age  of  eleven  he 
assumed  his  father's  duties  as  organist,  which 
he  continued  to  discharge  until  leaving  home. 
His  literary  and  general  education  was  re- 
ceived at  a  seminary  and  afterwards  at  college, 
from  which  he  graduated  in  1853.  After  this 
he  taught  school  for  a  year  in  a  small  place 
near  Bingen  on  the  Rhine.  While  on  a  visit 
home  he  met  a  gentleman  from  Philadelphia, 
who  invited  him  to  go  to  the  United  States. 
The  invitation  was  accepted,  and  he  arrived 
here  in  the  autumn  of  1854.  A  position  as  a 
clerk  in  a  store  in  Philadelphia  was  secured, 
but  he  was  soon  discharged,  owing  to  his  kick 
of  knowledge  of  the  English  language. 
While  in  this  strait  he  met  J.  H.  Bonawitz,  who 


procure! 


a  situation  in  a  band  of  musicians 


which  played  at  various  places  of  amuse- 
ment. He  then  became  organist  of  the  Sixth 
Presbyterian  Church  in  that  city,  where  he 
remained  a  year.  He  also  was  engaged  as 
critic  on  a  German  musical  journal  started  l>\ 
Mr.  Wolsieffer,  and  during  his  stay  in  Phila- 


9« 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


delphia  he  made  the  acquaintance  of  the  most 
prominent  musicians  there. 

In  1856  he  went  to  Lancaster  County,  Pa., 
where  he  taught  in  a  seminary,  meanwhile 
studying  dilligently.  In  1S59  he  went  South 
and  remained  there  until  the  breaking  out  of 
the  Civil  War,  in  April,  1861.  Returning  to 
the  North,  he  in  September  of  the  same  year 
settled  at  Oxford,  Ohio,  and  became  professor 
of  music  in  the  Oxford  Female  College.  In 
March,  1868,  he  began  his  career  as  a  musical 
writer  by  contributing  his  "musical  hints" 
to  "Brainard's  Musical  World."  These  were 
continued  in  each  number,  and  soon  brought 
their  author  prominently  into  notice.  He  was 
made  assistant  editor  of  the  "World,"  and  in 
1873  became  sole  editor,  a  position  which  he 
has  most  ably  filled  and  which  he  still  (July, 
1885)  retains.  His  articles  have  been  widely 
read,  and  in  a  considerable  measure  influential 
in  advancing  the  musical  interests  of  the  coun- 
try. They  are  characterized  by  an  earnest, 
elevated  style,  and  are,  in  addition,  pleasant 
to  read  and  logically  written.  During  his  res- 
idence at  Oxford  he  annually  gave  a  series  of 
two  or  three  concerts,  the  programs  of  which 
were  composed  of  a  higher  order  of  pieces 
than  is  usual  in  such  cases.  Though  prevent- 
ed by  the  number  of  his  duties  from  taking 
the  field  as  a  lecturer,  he  has  occasionally  ap- 
peared in  that  role.  The  lecture  on  "Genius," 
delivered  before  the  Music  Teachers'  National 
Association,  at  Cincinnati,  Oxford,  and  other 
places  in  the  State  of  Ohio,  has  been  highly 
commended.  He  is  not  only  esteemed  as  a 
musician  but  as  a  gentleman,  and  the  numer- 
ous concerts  which  he  has  given  for  charitable 
purposes  have  endeared  him  to  all  classes  of 
society.  After  having  been  a  resident  of 
Oxford  for  twenty-one  years,  he  in  July,  1882, 
removed  to  Wooster,  Ohio,  where  he  is  now 
professor  of  music  in  the  Wooster  University. 

Mr.  Merz's  works,  some  of  which  are  very 
popular,  consist  of  operettas,  sacred  pieces, 
choruses,  songs,  piano  solos,  waltzes,  dances, 
and  pieces  in  almost  every  vocal  and  instru 
mental  form.  Among  the  more  important  are 
Trio,  for  piano,  violin,  and  violoncello,  with 
an  arrangement  of  the  andante  for  the  piano  ; 
Sonata  in  C  minor,  three  movements  of  which 
are  published  as  "  L' Inquietude,"  "Eloge," 
and  "La  Belle  Americaine  ;"  "La  Tranquil- 
ity,''    andante     for    piano;    Caprice,    for    two 


violins  and  piano  ;  Elegy,  for  piano  and  vio- 
lin ;  "Bitter  Tears,"  two  nocturnes;  "Wel- 
come to  the  Hero,"  polonaise;  "  Last  Will 
and  Testament,"  an  operetta,  first  produced 
at  Oxford,  O.,  in  1S77 ;  "Katie  Dean,"  an 
operetta,  first  produced  at  Oxford,  in  1882  ; 
"The  Runaway  Flirt,"  an  operetta,  published 
in  1868;  Gypsey  Chorus  for  Ladies'  Voices; 
"Great  and  Marvelous,"  chorus  for  six  voices  ; 
"Musical  Hints  for  the  Million,"  containing 
434  hints  previously  published  in  the  "World" 
(16  mo.  216  pp.,  1875);  "Modern  Method  for 
the  Reed  Organ  "  (187S);  "Elements  of  Har- 
mony and  Composition"  (1881);  "Deserted," 
a  song;  "The  Stranger's  Love,"  a  song ;  Six 
organ  pieces  ;  "To  the  Golden  Rays  of  Love," 
quartet  ;  "O  Thou  who  driest  the  mourner's 
tears,"  quartet;  "Miriam's  Song  of  Triumph," 
chorus. 

Millard,  Harrison,  celebrated  Ameri- 
can song  writer,  was  born  Nov.  27,  1830,  at 
Boston.  When  little  more  than  eight  years 
of  age  he  was  admitted  into  one  of  the  city 
choirs,  and  when  ten  sang  in  the  chorus  of  the 
Handel  and  Hayden  Society  as  alto.  His 
voice  changed  to  a  tenor,  and  on  one  occasion 
during  the  absence  of  the  principal  tenor  he 
sang  in  the  oratorio  of  "Samson."  He  was 
then  about  fifteen  years  old.  In  1851  he  went 
to  Europe,  and  spent  three  years  in  studying 
under  the  best  masters  of  Italy.  After  this  he 
spent  some  time  in  London,  appearing  at  vari- 
ous musical  entertainments  as  a  tenor  singer, 
and  traveled  with  Catherine  Hayes  in  Ireland 
and  Scotland.  While  abroad  he  wrote  consid- 
erable music,  and  was  a  frequent  contributor  to 
"Dwight's  Journal  of  Music"  and  other  Amer- 
ican musical  publications.  In  1854  he  returned 
to  his  native  country  and  settled  at  Boston, 
giving  vocal  lessons  and  singing  at  concerts. 
Two  years  later  he  removed  to  New  York. 
In  1859  he  produced  his  first  important  song, 
"Viva  La  America,"  which  had  a  wonderful 
success.  Upon  the  breaking  out  of  the  Civil 
War  he  entered  the  army  and  was  commis- 
sioned as  first  lieutenant  of  the  19th  New  York 
regiment.  After  four  years  of  service  he  was 
severely  wounded  at  the  battle  of  Chicamauga, 
rendered  unfit  for  duty,  and  sent  home.  Not 
long  after  he  was  offered  a  position  in  the  cus- 
tom house,  which  he  still  (1881)  holds.  Mr. 
Millard  has  written  many  popular  pieces 
which  have   rendered    his    name    familiar    all 


HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


99 


over  the  country,  as  is  attested  by  the  fact  that 
various  musical  societies  in  different  states  are 
named  after  him.  His  works  consist  of  about 
300  songs  (among  which  is  the  patriotic  song 
of  "Flag  of  the  Free")  nearly  400  adaptations 
from  French,  German,  and  Italian  ;  many  an- 
thems, 4  church  services,  4  Te  Deums,  a 
grand  mass,  a  vesper,  and  an  Italian  opera  in 
4  acts,  entitled  "Deborah." 

Miller,  Henry  F.,  Sen.,  piano  manufac- 
turer, was  born  at  Providence,  R.  I.,  in  1S25, 
and  died  at  his  summer  residence  at  Beach 
Bluff,  Mass.,  Aug.  14,  1SS4.  He  received  in 
youth  a  good  education  at  the  public  and  pri- 
vate schools  of  his  native  city,  and  at  an  early 
age  also  commenced  the  study  of  music,  soon 
attaining  proficiency  as  a  pianist  and  organist. 
In  the  latter  capacity  he  officiated  for  some 
time  at  the  church  connected  with  Brown 
University,  Providence.  He  also,  in  addition 
to  his  musical  talent,  possessed  a  decided 
taste  for  mechanical  studies,  and  while  at 
school  planned  and  built  a  hydraulic  machine 
and  an  electric  machine.  In  1863,  after  he 
had  been  in  the  employ  of  other  piano  manu- 
facturers for  several  years,  he  established  in 
business  for  himself.  Being  thoroughly  ac- 
quainted with  the  various  methods  used  by 
others,  he  was  enabled  to  produce  first-class 
instruments.  At  the  outset  the  Henry  F. 
Miller  pianos  were  received  with  favor  and 
soon  became  popular.  From  small  beginnings 
the  business  steadily  increased.  He  accumu- 
lated considerable  capital,  which  enabled  him 
to  extend  the  business  to  all  parts  of  the  United 
States.  He  manufactured  all  of  the  various 
styles  of  pianos  —  grand,  square  and  upright — 
and  also  a  patented  pedal  upright  piano  for 
the  use  of  organists. 

The  elegant  and  commodious  building 
which  he  occupied  at  on  Washington  St., 
Boston,  was  built  for  him.  He  also  purchased 
a  fine  property  at  Wakefield,  Mass.,  consisting 
of  land  and  buildings  (said  to  have  originally 
cost  Sico,oco),  which  offered  the  very  best 
facilities  for  manufacturing,  At  the  time  of 
his  death,  Mr.  Miller's  business  was  in  a  flour- 
ishing condition.  His  sales  annually  amounted 
in  value  to  hundreds  of  thousands  of  dollars, 
while  his  pianos  were  known  and  highly  es- 
teemed by  artists  everywhere  and  the  musical 


j  world  in  general.  Mr.  Miller's  family,  all  of 
j  whom  survived  him,  consists  of  his  wife,  five 
sons  and  two  daughters.  The  sons  were  all 
associated  with  him  in  his  business.  He  was 
I  a  man  of  the  strictest  integrity,  and  in  all  his 
!  business  relations  commanded  the  respect  and 
I  confidence  of  all  who  knew  him.  The  resolu- 
|  tions  passed  by  the  manufacturers  and  his  em- 
ployees at  the  time  of  his  death  were  of  unusu- 
ally high  character. 

Miller,  Henry  F.,  &  Sons  Piano 

Co.,  Boston,  Mass.  This  Company,  which 
was  organized  in  1884  under  the  laws  of  the 
State  of  Massachusetts  with  a  paid  in  capital 
of  $  150,000,  succeeded  Henry  F.  Miller,  Sr., 
at  the  time  of  his  decease.  The  officers  of  the 
Company  are  his  sons,  Henry  F.  Miller,  presi- 
dent;  James  C.  Miller,  treasurer;  Walter  H. 
Miller,  manager  of  warerooms ;  Edwin  C. 
Miller,  assistant  superintendent ;  William  F. 
Miller,  clerk,  and  Joseph  H.  Gibson,  superin- 
tendent. The  Company  manufactures  and 
sells  the  celebrated  Henry  F.  Miller  piano. 
Their  offices  and  warerooms  are  at  1 56  Tremont 
St.,  Boston,  with  a  branch  wareroom  at  Phil- 
adelphia. They  also  have  agencies  in  all 
parts  of  the  United  States  and  Canada.  The 
Miller  pianos  rank  among  the  very  best  in  the 
world  for  durability,  tone  and  finish.  Special 
attention  is  given  by  the  Company  to  the  man- 
ufacture of  grand  pianos  for  the  concert  use  of 
artists. 

Milwaukee    Musikverein    (The) 

MILWAUKEE,  Wis.  This  is  one  of  the  oldest  as 
well  as  the  most  important  musical  societies  in 
the  West.  It  was  founded  in  1849,  and  is  sup- 
ported by  the  large  German  population  of  the 
city.  The  first  concert  was  given  May  28, 
1850.  H.  Balatka,  F.  Abel,  A.  vonSobolewski, 
W.  Tenzler,  A.  von  Jungsest,  R.  Schmelz, 
and  A.  Mickler,  have  in  turn  acted  as  con- 
ductors. Eugene  Luening  is  the  present  in- 
cumbent. The  society  has  not  been  without 
its  drawbacks  and  adversities,  but  notwith- 
standing these  it  has  exercised  a  great  and 
elevating  influence  upon  the  musical  life  of 
the  great  West.  As  an  epitome  of  its  labors, 
the  following  list  of  works  (taken  from  Dr. 
Ritler's  "  Music  in  America  ")  which  it  has 
performed,  covering  almost  the  whole  held  of 
music,  is  a  creditable  one  : 


[OO 

ist  71 

1S51 

185 1 

t8Si 

[851 

1852 

r852 

iS53 

1S53 

iS5-> 

■855 

1855 

[85b 

[85  b 

,856 

r8S7 
1858 
1858 
1858 
1858 
1859 
1859 
1859 
i860 
,86o 
i860 
1 861 
1 861 
1 861 
iS6e 
1863 
1864 
1S65 
1866 
1866 
1866 
1867 
1 868 
1868 
1869 
1869 
1869 
1870 
1871 
1871 
1872 
1872 
1872 
1S72 
1873 
1973 
1873 
1874 
1874 
1875 
1875 
i875 
1876 
1876 
1877 
1877 
1878 
1878 
1878 
1878 
1879 
1879 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Work. 

Messiah  (parts), 

Creation, 

Jesus  in  Gethsemane  (parts), 

Samson, 

Seasons, 

Elijah  (choruses), 

Czar  and  Zimmermann, 

Der  Wildschutz, 

Der  Freyschiilz, 

Norma, 

Symphony  No.  1, 

Alessandro  Slradella, 

Symphony  No.  6, 

Symphony  No.  5, 

Forty-second  Psalm, 

Die  Zauberflote, 

Symphony  No.  2, 

Nachtlager  von  Grenada, 

Stabat  Mater, 

Hymn  of  Praise, 

Mohega  (drama), 

Song  of  the  Bell, 

Martha, 

Requiem  Mass, 

Symphony  (E  flat  major), 

La  Traviata, 

Ninety-fifth  Psalm, 

A  Night  on  the  Ocean, 

Symphony  (G  minor) 

Miscellaneous  selections. 

St.  Paul,       - 

Repetition  of  former  works. 

Lurline, 

The  Power  of  Song, 

Symphony  No.  7, 

Symphony  No.  I, 

Symphony   "Abschied," 

Midsummer  Night's  Dream  (music) 

Fra  Diavolo, 

Birken  und  Erlen, 

Symphony  (unfinished), 

Mass  (C), 

Symphony  No.  4, 

Symphony  "Ocean," 

Masaniello, 

Judas  Maccabaeus  (part's), 

Symphony  No.  3  (E  flat), 

Poeme  Symphonique,    "Tasso,'' 

Symphony  No.  4, 

Les  Preludes, 

Loreley  (finale), 

Fantasie  (piano,  orchestra,  chorus), 

Sakuntala  (overture), 

Walpurgis  Night, 

Ein  Deutsches  Requiem, 

Lohengrin  (introduction  and  scenes 

Odysseus, 

Ball  Suite, 

Paradise  und  die  Peri, 

Melusine, 

Symphony  No.  I,        - 


«     9    (choral), 
Symphony  (C  major), 
Christus, 


C  omposer. 

Handel. 

Haydn. 

Rossetti. 

Handel. 

Haydn. 

Mendelssohn. 

Lortzing. 

Lortzing. 

Weber. 

Bellini. 

I  (eethoven. 

Flotow. 

Beethoven. 

Beethoven. 

Mendelssohn. 

Mozart. 

Beethoven. 

Kreutzer. 

Rossini. 

Mendelssohn. 

Sobolewski. 

Romberg. 

Flotow. 

Mozart. 

Mozart. 

Verdi. 

Mendelssohn. 

Tschirch. 

Gade. 

Mendelssohn. 

Hiller. 
Brambach. 

Beethoven. 

Haydn. 

Haydn. 

Mendelssohn. 

Auber. 

Bruch. 

Schubert. 

Beethoven. 

Mendelssohn. 

Rubinstein. 

Auber. 

Handel. 

Haydn. 

Liszt. 

Beethoven. 

Liszt. 

Mendelssohn. 

Beethoven. 

( roldmark. 

Mendelssohn. 

Brahms. 

Wagner. 

Bruch. 

Lachner. 

Schumann. 

Hoffmann. 

Brahms. 

Brahms. 

Schumann. 

Beethoven. 

Schubert. 

Kiel. 


HANDBOOK    OF   AMERICAN    MUSIC    AND    MUSICIANS. 


ist  Ti 

1S80 
18S0 
tSSo 
1880 


Works. 

Der  Raub  dev  Sabinerinnen, 
Golden  Legend, 
Elijah  (in  full), 
Symphony  "Im  Wald," 


c  'omposet . 

Vierling. 

Buck. 

Mendelssohn. 

Raft. 


Mills,  Sebastian  Bach,  pianist,  was 
born  March  13,  1838,  at  Leicester,  England, 
where  his  father  was  organist,  and  early 
showed  a  decided  musical  talent.  When  six 
or  seven  years  old  he  appeared  in  public  and 
was  well  received.  In  1846  he  played  a 
brilliant  rondo  by  Czerny,  at  Drury  Lane, 
with  such  success  that  the  Queen  sent  for  him 
to  play  before  her  at  Buckingham  Palace. 
He  frequently  assisted  at  concerts  and  speedi- 
ly became  a  great  favorite.  In  1S47  he  went 
to  Germany  and  studied  under  Plaidy,  Meyer, 
and  Czerny.  His  progress  was  rapid,  and  he 
was  invited  to  play  at  various  concerts,  which 
he  did  with  great  acceptance.  After  having 
returned  to  England  he  was  induced  to  come 
to  this  country,  and  arrived  here  in  1856. 
Being  almost  a  total  stranger,  he  met  with  a 
very  discouraging  reception,  and  had  about 
decided  to  return  again  to  his  native  country 
when  he  met  Carl  Beigmann,  who  introduced 
him  to  musical  society.  He  played  Schu- 
mann's concerto  at  a  concert  given  in  the  city 
assembly  rooms,  Broadway,  which  gained  him 
notice  and  a  place  among  musicians.  His 
mind  was  immediately  changed  and  he  settled 
in  New  York  as  a  teacher  of  the  piano,  where 
he  is  still  (18S6)  located.  He  has  been  very 
successful,  ranking  as  one  of  the  leading 
teachers  of  the  country,  and  has  trained  many 
excellent  players.  From  time  to  time  he  has 
appeared  as  a  virtuoso  at  concerts  in  the  prin- 
cipal cities  of  the  United  States.  His  style  is 
clear,  sharp,  crisp,  and  bold,  making  him  ex- 
cell  in  bravura  passages,  but  lacking  in  grace 
and  feeling.  This  defect,  however,  grows  less 
with  the  advance  of  age,  and  some  of  the 
boldness  and  power  is  profitably  exchanged 
for  the  finer  qualities.  Mr.  Mills  has  com- 
posed numerous  and  popular  piano  pieces, 
among  the  most  important  of  which  are  "Hail 
Columbia"  (concert  paraphrase),  "Alpine 
Horn"  (transcription),  "Barcarolle  Veneti- 
enne,"  "Two  Tarantellas,"  "Murmuring 
Fountain"  (caprice),  "Recollections  of 
Home,"  "Caprice  Galop,"  "Fairy  Fingers," 
"Toujours    Gai,"    "  Saltarello."    "Beautiful 


Blue  Danube,''    "Barcarolle,"    "Waltz,"   etc. 

Mitchell,  NAHUM,  was  born  in  1769,  at 
Bridgewater,  Mass.  He  commenced  the  study 
of  music  and  began  composing  at  an  early  age, 
but  none  of  his  earlier  pieces  amounted  to 
anything.  In  conjunction  with  a  Rev.  Air. 
Buckminster  of  Boston  he  compiled  a  small 
volume  of  church  music,  entitled  "Brattle 
Street  Collection,"  which  was  published  in 
1810.  In  1812  he  brought  out  "Templi  Car- 
mina,"  a  similar  collection,  which  was  very 
successful  and  in  the  preparation  of  which  he 
was  assisted  by  Brown  and  Holt,  two  music 
teachers.  It  passed  through  several  editions. 
His  music  was  popular  and  of  a  higher  order 
than  that  produced  by  a  majority  of  American 
composers  of  his  day.  His  principal  works 
besides  those  already  named  are  a  "Grammar 
of  Music"  and  a  series  of  articles  on  the  "His- 
tory of  Music,"  published  in  the  Boston  "Eu- 
terpeiad."  Mitchell  was  at  one  time  member 
of  Congress,  and  for  many  years  chief  justice 
of  the  Massachusetts  circuit  court.  He  died 
at  Bridgewater,  early  in  September,  1853. 

Mocking'  Bird,  Listen  to  the.  One 
of  Sep.  Winner's  most  beautiful  and  popular 
ballads.  It  was  composed  about  1855,  and  at 
once  became  all  the  rage.  Numberless  varia- 
tions have  been  written  upon  it.  It  is  one  of 
the  few  songs  which  have  gained  a  national 
reputation,  and  it  even  came  to  be  generally 
known  in  England. 

Mollenlianer.  A  family  of  remarkable 
German  musicians,  consisting  of  three  broth- 
ers. 

FREDERIC,  the  eldest,  was  born  in  1818,  at 
Erfurt.  His  musical  talents  were  evident  from 
the  first,  and  he  formed  a  strong  attachment 
for  the  violin.  As  has  often  been  the  case, 
the  parents  were  displeased  with  the  idea  of 
their  son  becoming  a  musician,  and  he  was 
obliged  to  surreptitiously  pursue  his  musical 
studies.  He  at  first  took  lessons  of  an  old 
school-teacher,  but  having  soon  learned  all 
his  master  could  teach  him,  continued  his 
studies  under  a  Herr  Braum,  a  pupil  of  Spohr, 
making    rapid    progress.        Everything     went 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


along  all  right  until  a  bill  for  services  rendered 
was  presented  him  by  his  teacher,  which  he 
was  totally  unable  to  pay.  In  this  dilemma 
he  was  obliged  to  inform  his  father  of  what  he 
had  been  doing,  who  graciously  forgave  him, 
paid  all  his  debts,  and  allowed  him  to  contin- 
ue his  studies.  For  two  years  he  remained 
with  Braum,  meanwhile  studying  harmony 
and  composition"  with  A.  Pabst,  and  the  vio- 
loncello with  E.  Methfessel.  He  also  in- 
structed his  younger  brothers,  Henry  and  Ed- 
ward. About  1S35  ne  commenced  a  concert 
tour  which  ks'.ed  three  years  and  embraced 
nearly  all  of  Europe.  During  this  period  he 
became  acquainted  with  Spohr  (with  whom  he 
sometimes  played  dtws),  Hummel,  Schumann, 
Mendelssohn,  and  other  noted  musicians.  He 
was  afterwards  joined  by  his  brother  Edward, 
and  it  was  Mendelssohn  who  highly  praised 
the  duo  playing  of  the  two.  In  1852  and  1853, 
during  one  of  their  brilliant  concert  tours, 
they  played  in  London,  and  were  engaged  by 
Jullien  as  soloists  in  his  famous  orchestral 
concerts.  With  him  they  came  to  the  United  | 
States  in  1853,  and  have  since  resided  here,  j 
Frederic  in  1S65  established  a  "Studio  of! 
Music"  in  Brooklyn,  of  which  he  still  had  j 
charge  in  1882.  His  playing  was  character-  ' 
ized  by  boldness,  breadth  and  power.  He 
was  favorably  known  as  a  composer  as  well  as 
a  teacher  and  player.  He  died  at  Boston, 
April  14,  1885. 

Heinrich,  the  second  member  of  the  fam- 
ily, was  born  at  Erfurt,  Sep.  10,  1825.  He 
early  learned  to  play  the  piano  and  violin, 
receiving  instruction  from  his  elder  brother,  i 
and  when  but  six  years  old  played  before  the 
court  at  Weimar  with  great  success.  After 
having  studied  the  piano  and  violin  some 
time,  he  gave  them  both  up  for  the  violon- 
cello, which  he  studied  under  Knoppe  and  on 
which  he  soon  became  proficient.  In  1853  he 
went  to  Stockholm,  where  he  was  engaged  as 
solo  violoncellist  to  the  court.  At  the  end  of 
two  or  three  years  he  resigned  this  position 
and  traveled  in  Sweden  and  Denmark.  In 
1856  he  came  to  this  country,  his  brothers 
having  preceded  him,  and  made  his  de"but  at 
one  of  the  New  York  Philharmonic  Society's- 
concerts.  He  subsequently  traveled  with 
Thalberg,  Gottschalk  and  Patti,  giving  con- 
certs in  various  parts  of  the  country.  Having 
married  he  settled  in  New  York,  and   in    1867 


established  a  conservatory  of  music  in  Brook- 
lyn, over  which  he  still  (1S85)  presides. 
Though  busily  engaged  in  teaching,  he  still 
frequently  appears  in  public  as  a  solo  violon- 
cellist. 

Edward,  violinist,  the  youngest  member  of 
the  family,  was  born  at  Erfurt  in  1827.  His 
tirst  musical  instruction  was  received  from 
his  eldest  brother,  Frederic,  under  whose 
care  he  rapidly  progressed,  and  when  only 
nine  years  of  age  frequently  appeared  in  pub- 
lic at  conceits.  He  then  visited  Berlin,  Vi- 
enna and  St.  Petersburg,  playing  with  great 
success.  After  leaving  his  brother  he  placed 
himself  under  the  care  of  Ernst,  meanwhile 
studying  ha-mony  and  composition.  He  sub- 
sequently became  conductor  of  an  orchestra  at 
Hamburg.  In  order  to  escape  military  service 
he  fled  to  England,  where  he  joined  Frederic, 
and  after  playing  some  time  with  Tullien's 
orchestra  they  in  1853  came  to  the  United 
States.  Edward  finally  settled  in  New  York, 
where  he  is  still  located,  highly  esteemed  as  a 
soloist,  teacher,  conductor  and  composer. 
His  opera  of  "The  Corsican  Bride"  was  pro- 
duced at  Winter  Palace,  New  York,  in  1862, 
but  undeservedly  met  with  little  success.  As 
a  composer  he  is  the  best  known  of  the  three 
brothers.  His  works  consist  of  three  operas, 
violin  concertos,  quartets  for  strings,  songs, 
duets,  etc.,  many  of  which  remain  unpub- 
lished. 

Moiltejo,  ELLA  {lire  Senate),  a  dramatic 
soprano,  is  a  native  of  Philadelphia.  She 
studied  with  Pasquale,  Rondinella,  Francois 
d'Auria,  Barili,  and  other  teachers  equally 
well  known.  In  1S80  she  made  a  successful 
debut  on  the  concert  stage.  Soon  after  she 
appeared  on  the  lyric  boards  in  her  native 
city  in  Gilbert  and  Sullivan's  "Pinafore,"  sus- 
taining the  /('</<■  of  Josephine  for  over  100  nights. 
The  following  year  she  appeared  as  Columbia 
in  an  original  opera  by  Giuseppe  Operti.  For 
some  time  thereafter  she  lived  in  retirement 
in  consequence  of  the  death  of  four  members 
of  her  family — father,  mother  and  two  sisters. 
In  1885  she  removed  to  New  York  City,  and 
hr.s  since  re-appeared  before  the  public. 

Moore,  JOHNW.,  was  born  at  Andover, 
N.  H.,  April  II,  1807,  and  was  the  third  son 
of  Dr.  Jacob  B.  Moore,  a  descendant  of  a 
Scotch    family  and    a    lair    amateur    musician. 


HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


Of  the  other  two  sons,  Jacob  B.  was  a  partner 
of  Isaac  Hill  in  publishing  the  "Patriot"  and 
the  author  of  several  historical  and  other 
works,  and  Henry  E.  Mas  a  music  teacher  and 
the  composer  of  numerous  vocal  and  instru- 
mental pieces.  The  subject  of  our  sketch 
learned  the  printer's  trade  in  the  office  of  the 
"New  Hampshire  Patriot."  In  1828  he  es- 
tablished a  weekiy  paper  at  Brunswick,  Me., 
called  the  "Free  Press."  This  he  sold  in  1831 
and  returned  to  Concord,  N.  H.,  where  in 
conjunction  with  his  brother  Henry  he  founded 
the  "Concord  Advertiser."  In  1838  he  com- 
menced the  publication  of  the  "Bellows  Falls 
Gazette,"  at  Bellows  Falls,  Vt.,  which  he  con- 
tinued many  years.  He  was  also  in  1S41  ap- 
pointed postmaster  at  the  place,  a  position 
which  he  retained  for  more  than  ten  years. 
In  1863  he  removed  to  Manchester,  N.  H., 
where  he  became  editor  of  the  "Daily  News" 
and  of  "Moore's  Musical  Record,"  and  where 
he  is  still  (1885)  located.  While  residing  at 
Bellows  Falls,  besides  many  miscellaneous 
articles  for  various  musical  publications,  he 
wrote  or  edited  the  following  works  :  "World 
of  Music,"  "Sacred  Minstrel,"  "Musician's 
Lexicon,"  "Musical  Library,"  "Comprehen- 
sive Music  Teacher,"  "American  Collection 
of  Instrumental  Music,"  and  "  Star  Col- 
lection of  Instrumental  Music."  His  far  most 
important  and  useful  work,  however,  is 
"Moore's  Complete  Encyclopaedia  of  Music, 
Elementary,  Technical,  Historical,  Biograph- 
ical, Vocal  and  Instrumental"  (1  vol.  large 
8vo.  1000  pages,  published  by  O.  Ditson  & 
Co.,  Boston,  1854),  to  which  he  devoted  near- 
ly eighteen  years'  time  and  labor.  The  vol- 
ume contains  a  great  mass  of  information,  not 
always  well  digested,  and  sometimes  marred 
by  errors  which  are  the  result  of  the  varied 
sources  from  which  it  was  drawn.  So  long  a 
time  has  elapsed  since  it  was  first  published 
that  it  is  now  greatly  out  of  date.  This  defect 
has  been  in  a  measure  remedied  by  an  ap- 
pendix (1875).  Mr.  Moore  is  now  at  work 
on  a  second  ^volume,  which  will  soon  be  is- 
sued and  will  undoubtedly  be  an  improvement 
upon  the  first.  His  "Dictionary  of  Musical 
Information"  (Boston,  ().  Ditson  &  Co.,  1876) 
is  a  small  work,  mainly  condensed  from  the 
encyclopaedia,  with  modifications  and  correc- 
tions to  date,  an  1  very  handy  for  casual 
reference. 


Morgan,    George    Washbourne,  well 

known  as  an  organist,  was  born  at  Gloucester, 
England,  April  9,  1822.  From  the  age  of 
twelve  until  twenty  years  he  regularly  played 
twice  every  day.  After  holding  several  posi- 
tions as  organist  in  his  native  city,  he  went  to 
London,  and  was  similarly  engaged.  He 
made  his  first  appearance  as  solo  organist  at 
Exeter  Hall,  and  was  received  with  much 
enthusiasm.  In  1853  ne  came  to  this  country 
and  was  appointed  organist  of  St.  Thomas' 
Episcopal  Church,  New  York,  where  he  re- 
mained only  a  year.  After  this  he  was  organ- 
ist of  Grace  Church  for  thirteen  years,  of  St. 
Ann's  and  St.  Stephen's  Roman  Catholic 
churches  for  a  short  time,  and  of  the  Brooklyn 
Tabernacle  (Dr.  Talmage)  for  over  twelve 
years.  He  was  the  first  organist  to  introduce 
in  this  country  the  organ  works  of  Bach, 
Hesse  and  Mendelssohn.  His  performances 
at  Tremont  Temple,  Boston,  were  most  highly 
praised  by  "  Dwight's  Journal  of  Music."  In 
1876  he  repeatedly  played  at  the  Centennial 
Exposition  at  Philadelphia.  His  organ  recitals 
at  Chickering  Hall,  New  York,  for  the  past 
six  years  have  steadily  increased  in  favor, 
and  have  become  one  of  the  established  musi- 
cal features  of  the  metropolis.  As  an  organist 
Mr.  Morgan  ranks  among  the  very  foremost 
in  this  country,  possessing  a  wonderful  tech- 
nique and  a  complete  control  of  his  instru- 
ment. In  the  execution  of  pedal  passages  he 
has.  no  superior.  He  is  also  a  good  pianist, 
and  is  personally  highly  esteemed.  He  now 
resides  at  New  York.  His  daughter,  Maud, 
is  an  accomplished  harpist.  She  made  her 
<{(!hiit  in  1876,  and  has  since  repeatedly  played 
before  large  and  cultured  audiences,  always 
with  the  greatest  success. 

Morgan,  John  Paul,  was  born  Feb.  13, 
1S41,  at  Oberlin,  Ohio,  and  began  the  study 
of  music  at  an  early  age.  In  1S58  he  was 
employed  as  organist  of  the  Congregational 
Church,  Mt.  Vernon,  ().,  but  soon  after  went 
to  New  York  and  studied  for  three  years  un- 
der J.  Huss,  meanwhile  acting  as  organist 
and  director  of  music  in  the  South  5th  Street 
M.  E.  Church,  East  Brooklyn.  In  1862  he 
returned  to  Cleveland,  ().,  where  he  was  or- 
ganist of  the  Second  Presbyterian  Church  and 
taught  music.  In  April,  1863,  he  went  to 
Germany,  and  studied  theory  and  composition 
under    Hanptmann,    Richter,    Reinecke,    and 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Papperitz ;    the  piano   under  Wenzel,  Plaidy, 

and  Moscheles,  and  the  organ  under  Richter.  [ 
After  having  graduated  from  the  Conservato-  | 
rium  in  the  spring  of  1865,  he  spent  some  time  j 
with  A.  G.  Ritter  at  Magdeburg.  In  August 
of  the  same  year  he  returned  home  and  con- 
ducted a  series  of  oratorio  concerts  at  Ober- 
iin,  (>.,  and  at  the  same  time  founded  the 
Oberlin  Conservatory  of  Music,  which  is  still 
in  a  flourishing  condition  under  the  director- 
ship of  F.  B.  Rice.  Early  in  i860  he  again 
went  to  New  York,  and  was  engaged  as  organ- 
ist of  the  Church  of  the  Messiah,  Brooklyn. 
On  Oct.  18th  of  the  same  year  he  was  mar- 
ried to  Miss  Virginia  H.  Woods,  daughter  of 
Rev.  W.  \V.  Woods,  of  Iowa  City,  Iowa,  and 
in  1867  was  appointed  organist  of  Trinity 
Church,  New  York.  He  had  charge  of  five 
or  six  musical  societies  in  and  around  New 
York ;  was  professor  of  the  organ  and  theory 
in  the  conservatory  of  William  Mason  and 
Theodore  Thomas,  the  New  YorkjConservatory 
and  the  conservatory  of  Carl  Anschiitz  during 
the  brief  existence  of  each,  and  was  active  in 
promoting  musical  interests  in  the  city.  An 
alarming  affection  of  the  throat  caused  him, 
in  January,  1873,  to  seek  a  restoration  of  health 
in  the  South.  He  returned  to  New  York  in 
the  following  June,  but  little  better,  and  in  ac- 
cordance with  the  advice  of  physicians  almost 
immediately  started  for  Santa  Barbara,  Cal. 
Health  was  so  far  restored  to  him  that  he 
became  conductor  of  the  Handel  and  Haydn 
Society,  San  Francisco,  of  the  Oakland  Har- 
monic Society,  and  organist  of  the  First  Pres- 
byterian Church,  Oakland.  In  1877  he 
founded  the  "Morgan  Conservatory  of  Music" 
at  Oakland,  to  which  he  devoted  the  most  of 
his  time.  Disease  had  been  clinging  to  him, 
however,  and  gradually  wasted  his  strength. 
Nature  at  last  succumbed,  and  his  death  took 
place  at  Oakland,  early  in  January,  1879.  He 
left  a  widow  and  several  children. 

Mr.  Morgan  was  not  only  a  tine  organist 
but  a  thorough  and  conscientious  musician. 
He  detested  everything  superficial  and  at  once 
impressed  those  with  whom  he  came  in  con- 
tact with  his  sincerity  and  integrity.  His 
works  are  numerous,  and  consist  of  the  86th 
psalm,  a  Te  Deum,  a  Benedictus,  a  Kyrie,  a 
funeral  service,  a  Centennial  National  Song 
(words  by  Bayard  Taylor),  anthems,  songs, 
and  other  vocal  pieces  ;  a  symphony  for  organ 


and  orchestra;  a  trio  in  three  movements  for 
piano,  violin  and  violoncello  ;  duets  for  piano 
and  violin  ;  numerous  miscellaneous  instru- 
mental compositions,  etc. 

Moseiltllill,  JOSEPH,  was  born  in  Decern 
ber,  1834,  at  Hesse-Cassel,  Germany.  He 
was  given  a  thorough  musical  education  by 
Spohr,  Bott,  Kraushaar,  and  other  ecpially 
emiaent  teachers.  In  1853  he  came  to  the 
United  States  and  settled  at  New  York,  where 
in  the  following  year  he  was  engaged  as  one 
of  the  players  in  Jullien's  orchestra,  then  vis- 
iting this  country.  He  afterwards  formed  one 
of  the  string  quartet,  the  others  being  Bergner, 
Matzka,  and  Theodore  Thomas,  which  for 
twelve  years  gave  performances  of  chamber 
music.  In  1800  he  became  organist  of  Cal- 
vary Church,  a  position  which  he  was  still 
holding  in  1S78.  His  time  is  largely  devoted 
to  teaching,  and  he  was  for  a  long  time  one  of 
New  York's  most  prominent  musicians.  He 
is  at  present  (1882)  a  resident  of  that  city. 

Murray,  James  R.,  was  born  at  Andover, 
Mass.,  in  1841,  and  studied  music  with  Dr. 
Root,  Lowell  Mason,  Bradbury,  Webb,  and 
Eugene  Thayer.  After  serving  in  the  army 
during  the  Civil  War,  he  went  to  Chicago  and 
was  for  some  time  editor  of  the  "Song  Mes- 
senger." In  1871  he  returned  to  his  native 
place,  where  he  has  since  resided.  He  is 
chiefly  known  as  the  composer  of  songs  and 
light  vocal  pieces  and  the  compiler  of  various 
collections  for  schools  and  Sunday-schools. 
"School  Chimes"  was  one  of  the  most  popu- 
lar books  of  its  class.  "Pure  Diamonds," 
"Heavenward"  and  "Royal  Gems,"  for  Sun- 
day-schools, have  been  very  successful.  Of 
"Pure  Diamonds"  alone  moie  than  half  a 
million  copies  were  sold. 

Musical  Critic  and  Trade  Re- 
view. A  semi-monthly  publication  of  20 
pages  devoted  to  musical  criticism,  news  and 
the  music  trades.  It  was  established  in  1878, 
and  at  first  known  as  the  Musical  Critic. 
Charles  Avery  Welles  is  the  editor  and  pro- 
prietor. Published  at  New  York.  Subscrip- 
tion price,  82  per  year.  Circulation,  about 
to,  000. 

Musical  Courier.  A  weekly  publica- 
tion devoted  to  the  interests  of  music  and 
drama.  Published  at  New  York  by  Blumen- 
berg  &  Ploersheim.  Each  number  contains 
sixteen  or  more    pages.     Subscription    price, 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


1..5 


$4  per  annum.  Established  in  1S80.  Circu- 
lation, upwards  of  5,000. 

MUSIC  JUKI  Drama.      A  weekly  review 
of  music  in  general,  formerly  issued  weekly  at 
New   York.      It  had  able  correspondents  in  all  i 
parts  of  this  country  and  in  foreign  countries, 
and   contained   a   large  amount  of  information  I 
from    the     musical     world     in    each    number.  | 
A  daily  edition  of  the  paper  was  commenced 
Nov.    25,    18S2,   an  I    continued  a  short   time. 
This  is  probably  the  first  instance  of  a  regularly 
established    musical    daily    in   the  world.      It 
ceased    to  exist    in    1883,    but   has  lately  been 
revived  under  a  new  management,  and  much 
improved.     Amelia  Lewis  is  at  present  editor.  ; 

Musical  glasses.  Glasses  resembling 
the  ordinary  drinking  glasses,  from  which 
musical  but  very  peculiar  sounds  may  he  pro- 
duced by  rubbing  the  moistened  finger  around 
the  rim.  They  are  tuned  to  the  different 
degrees  of  the  diatonic  scale  by  increasing  or 
diminishing  the  quantity  of  water  in  them. 
Benjamin  Franklin  incorporated  the  glasses 
into  a  practical  musical  instrument.  See  HAR- 
MONICA. 

Musical  Heraltl.  A  monthly  maga- 
zine of  forty  pages  devoted  to  the  advance- 
ment of  music  in  all  its  branches,  especially 
church  music.  The  first  number  appeared  in 
January,  18S0.  It  is  edited  by  Dr.  E.  Tour- 
icc,  ass-.sted  by  Louis  C.  Elson,  Stephen  A. 
Emery,  W.  F.  Sherwin  and  G.  E.  Whiting. 
Published  by  the  Musical  Herald  Co.,  Bos- 
ton. Subscription  juice,  #1  per  year.  Cir- 
culation about  10,000.  It  is  one  of  the  most 
ably  conducted  journals  in  this  country. 

Musical  Magazine,   The,  was  not 

strictly  a  magazine,  but  a  publication  consist- 
ing mostly  of  church  music,  edited  and  issued 
by  Andrew  Law  of  Newark,  N.  J.  It  first 
appeared  about  the  beginning  of  the  present 
century,  and  was  undoubtedly  the  first  Ameri- 
can periodical  devoted  exclusively  to  music. 
Several  numbers  were  issued,  but  it  seems 
not  to  have  gained  any  permanency.  It 
formed  a  part  of  Mr.  Law's  "Art  of  Singing," 
the  other  two  parts  being  "The  Musical 
Primer"  and  "The  Christi;  n  Harmony." 
Sometimes  these  three  parts  were  bound  into 
one  volume.  The  "Magazine"  was  printed 
at  Boston,   Mass.,  by  E.   Lincoln. 


Music  Teaehers'  National  Asso- 
ciation. The  Music  Teachers'  National 
Association  was  founded  in  1876,  in  Dela- 
ware, Ohio,  and  has  for  its  aim,  as  specific- 
ally stated  in  its  constitution,  "mutual  im- 
provement by  interchange  of  ideas,  and  the 
broadening  cf  musical  culture."  From  a  very 
modest  beginning  it  has  passed  through  many 
seasons  of  discouragement,  and  for  several 
years  it  was  only  kept  alive  by  the  self-sacri- 
ficing zeal  of  a  few  earnest  musicians  who  had 
faith  in  its  ultimate  success.  The  fact  that  it 
was  not  in  a  position  to  take  a  decided  stand 
on  questions  of  importance  to  the  best  inter- 
ests of  musical  growth,  constituted  the  chief 
source  of  its  weakness,  and  its  growth  within 
the  last  three  years  may  be  directly  traced  to 
the  fact  that  it  has  enunciated  within  that  space 
of  time  a  platform  which  is  broad  and  liberal. 
At  its  annual  meetings  essays  are  presented 
by  distinguished  musicians,  which,  with  the 
accompanying  discussion,  are  incorporated, 
with  the  other  proceedings,  in  an  official  re- 
port, which  is  distributed  gratuitously.  At 
the  meeting  in  Providence,  in  1S83,  action 
was  taken  which  resulted  in  the  formation  of 
the  American  College  ok  Musicians  the 
following  year  at  Cleveland.  Action  was  also 
taken  at  the  Cleveland  meeting  in  the  inter- 
ests of  American  composers,  and  the  produc- 
tion of  works  by  native  composers  on  a 
worthy  scale  has  become  a  leading  feature  of 
the  annual  meetings.  At  the  meeting  of  1885 
in  the  Academy  of  Music,  New  York,  two 
orchestral  concerts  were  given,  at  which  were 
produced  original  orchestral  works.  This 
same  year  the  Association  took  a  stand  in 
favor  of  international  copyright,  and  has  con- 
sistently agitated  the  subject  in  every  legiti- 
mate manner,  and  stands  pledged  to  do  all  in 
its  power  to  aid  this  cause.  To  sum  up  the 
work  of  the  Association  as  briefly  as  possible, 
it  is  an  attempt,  by  legitimate  methods,  to  ad- 
vance the  standards  of  professional  work;  to 
stimulate  a  thoughtful  consideration  of  all 
subjects  relating  to  the  art  of  music;  and  by 
united  effort  to  make  its  influence  a  beneficial 
one,  not  only  as  relating  to  the  profession, 
but  also  as  a  factor  in  the  musical  growth  of 
the  nation.  It  is  an  encouraging  sign  to  note 
that  the  recent  accessions  to  the  membership 
of  the  Association  are  well-nigh  exclusively 
from  the  ranks  of  the  best  musicians,  thus  ren- 


IOO 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


<leiiii.fr  assured  the  maintenance  of  a  wort 
standard.  It  is  to  be  hoped  that  the  work  of 
this  organization  may  be  wisely  considered 
and  that  it  may  he  an  honor  to  the  profession 
and  representative  of  the  best  thoughts  of 
American  musicians.  The  officiary  for  the 
current  year  (1885-86)  is  as  follows: 

President,  A.  A.  Stanley,  Providence,  R.  I.; 
Secretary-Treasurer;  Theodore  Presser,  Phila- 
delphia, Pa.;  Executive  Committee,  .  S.  B. 
Whitney,  Boston,  Mass.,  W.  F.  Heath,  Fort 
Wayne,  Ind.,  Max  Leckner,  Indianapolis, 
Ind.;  Program  Committee,  Calixa  Lavallee, 
Boston,  Mass.,  A.  R.  Parsons,  New  York,  F. 
B.  Rice,  Oberlin,  0.  *     *     * 

Musical  Record,  The.  A  weekly 
paper  of  sixteen  pages  devoted  to  the  interests 
of  music  in  general.  It  is  published  at  Boston 
by  ( ).  Ditson  iv  Co.,  and  edited  by  Dexter 
Smith.  It  has  recently  been  change!  to  a 
36-page  monthly,  under  the  same  manage- 
ment and  editorship.  Subscription  price, 
Si. 00  per  annum.  Established  in  1878.  Cir- 
culation, upwards  of  5,000. 

Music  Journal,  American.    The 

name  of  the  official  paper  of  the  Musical  Mu- 
tual Protective  Union  of  New  York,  the 
largest  organized  body  of  professional  instru- 
mental musicians  in  the  world.  It  was  estab- 
lished in  December,  18S4,  and  issued  semi- 
monthly until  Jan.  I,  1886,  when  it  was 
changed  to  a  weekly.  It  is  published  at  the 
office  of  the  Union,  No.  64  E.  4th  St.,  New 
York,  under  the  editorial  management  of 
J.  Travis  Quigg,  a  well-known  journalist  and 
writer  on  musical  affairs.  Subscription  price, 
S2.00  per  annum. 

Musical  Libraries.  Though  the  Uni- 
ted States  can  not  boast  of  so  large  and  com- 
plete musical  libraries  as  Europe,  it  has  sev- 
eral excellent  and  valuable  collections.  The 
most  important  among  them  are  the  following 
ones,  of  which    a   brief  description   is  given  : 

1. — The  library  of  Harvard  Musical  Associ 
ation,  which  contains  about  2500  volumes, 
selected  with  care,  ami  the  number  rapidly 
increases. 

2. — The  Boston  public  library  includes  a 
collection  of  2000  volumes  on  the  subject  of 
music. 

3. — Harvard  University  has  a  library  con- 
taining about  the  same  number  of  volumes, 
some  of  considerable  value.      Special  attention 


is  given  to  increasing  the  number. 

4- — The  library  of  Congress  contains  many 
musical  works  and  publications,  but  they  con 
sist  almost  entirely  of  such  as  come  to  it 
through  the  copyright  law,  and  consequently 
of  little  value.  This,  however,  may  be  a 
source  of  valuable  information  to  the  future 
historian. 

5. — The  largest  and  most  valuable  library 
in  this  country  is  the  one  collected  by  Dr. 
Lowell  Mason  for  his  private  use,  but  which 
now  belongs  to  the  theological  department  of 
Y.de  College,  being  a  gift  thereto  by  his 
widow.  The  nucleus  was  the  library  of  C.  H. 
Rinck  of  Darmstadt,  which  was  purchased  by 
Dr.  Mason  in  1852,  while  traveling  in  Europe. 
It  now  contains  more  than  8,460  seperate 
publications  and  630  manuscripts,  and  is  par- 
ticularly rich  in  hymnology,  there  being  no 
less  than  700  volumes  relating  to  this  sub- 
ject alone.  There  are  also  some  valuable 
theoretical  works  of  the  16th  and  17th  cen- 
turies. Among  the  rare  works  are  Riccio's 
Introitus  (Venice,  1589J,  Andreas  Spaeth's 
Paraphrase  of  the  Psalms  (  Heidelberg,  151,6), 
de  Moncrif's  Chansons  (Paris,  1755),  Kreig- 
er's  Musikalische  Partien  (Nuremberg,  1697), 
and  autograph  manuscripts  by  Dr.  Mason, 
Rinck,  A.  Andre,  Beczwarzowsky,  Fesca, 
Nageli,  G.  A.  Schneider,  N.  A.  Strungk,  etc. 

6. — The  Yale  College  library  contains  a 
small  but  valuable  collection  of  musical 
works,  amounting  to  about  500  volumes. 

There  are  but  few  private  libraries  in  this 
country  which  amount  to  much.  One  of  them 
is  the  library  of  Karl  Merz,  Wooster,  Ohio, 
and  at  present  (1886)  editor  of  Brainard's 
Musical  World,  which  contains  between  one 
ail'!  two  thousand  volumes,  including  some 
valuable  works.  Dr.  Frederic  L.  Ritter,  of 
Poughkeepsie,  New  York,  has  a  large  and 
valuable  library.  Geo.  P.  Upton,  of  Chicago, 
translator  of  "Nohl's  Life  of  Haydn,"  has  a 
good  library,  containing  nearly  a  thousand 
volumes.  As  we  have  not  been  able  to  ex- 
amine any  of  these  libraries,  we  can  not  give 
any  information  regarding  their  contents  in 
particular. 

Music  Publishers'  Association. 
An  association  consisting  of  the  principal  pub- 
lishers of  music  in  the  United  Slates.  Its  ob- 
ject is  the  regulation  of  the  music  trade  by 
fixing  and  sustaining  a  uniform    and    standard 


HANDBOOK   OF   AMERICAN    MUSIC   AND    MUSICIANS. 


price  for  all  music   published.      The    Associa- 
tion w;.s  once  able  to  regulate  the  entire  trade 
of  the  country,  but  there  are  now  several  pub- 
lishers who  are  not  its  members  and  who  reg- 
ulate their  own  price  for  music.    Among  them 
are  two  or  three  who  make  a  business  of  pub- 
lishing   for   dealers   alone,    at    one-sixth     the  | 
retail    price,     whereas    the    usual    discount  to  j 
dealers  is  one-half.      The  dealer  may,    by   or-  ! 
dering  a  certain    amount    of    music,    have  his  | 
name  printed  thereon  as  publisher.      But    this  i 
is  usually  done  only    in   the   case  of  music  not 
protected  by  copyright  laws  and  thus  has,    in 
a  certain  sense,  become  public  property.     As, 
however,    nearly    all    foreign    music  is  of  this 
class,  the  field  is  both  large  and  profitable. 

The  Association  holds  annual  meetings, 
the  last  one  of  which  occurred  April  17th  of 
the  present  year  (1883)    at    New    York,     and 


has  the  officers  usual  to  such  a  body.  A  trade- 
mark for  sheet-music  has  been  adopted,  con- 
sisting of  a  star  enclosing  a  figure,  which 
indicates  the  number  of  dimes  at  which  the 
piece  is  to  be  sold.  The  following  firms  com- 
prise the  Association:  Balmer  &  Weber,  St. 
Louis;  S.  Brainard's  Sons,  Cleveland,  Ohio; 
The  John  Church  Co.,  Cincinnati;  0.  Ditson 
&  Co.,  Boston;  D.  P.  Faulds,  Louisville,  Ky.; 
F.  A.  North  &  Co.,  Philadelphia;  Wm.  A. 
Pond  &  Co.,  New  York;  White,  Smith  &  Co., 
Boston. 
My  country,  'tis  of  thee.    The  first 

line  of  a  very  popular  American  national 
hymn  of  four  stanzas,  written  by  Rev.  Samuel 
Francis  Smith,  D.  D.,  who  was  born  in  1808. 
It  is  generally  sung  to  the  English  tune  of 
"God  Save  the  King,"  called  "America"  in 
this  country. 


N. 


Nevada,  Emma,  whose  real  name  is  Km-  | 
ma  WjxoN,  was  born  in  Nevada  (she  took 
her  stage  name  from  her  native  state)  about 
i860.  Her  father  is  Dr.  W.  W.  Wixon,  a 
physician  of  some  reputation.  In  1877  she 
went  to  Europe  and  studied  for  some  time 
with  Mine.  Marchesi  at  Vienna.  Her  first 
engagement  was  for  Berlin,  but  sickness  com- 
pelled her  to  relinquish  it.  Under  the  man- 
agement of  Col.  Mapleson,  she  made  her  debut 
in  "  Sonnambula,"  at  London,  in  May,  1S80. 
In  September  of  the  same  year  she  sang  at 
Trieste  in  "Sonnambula"  and  "Lucia"  for 
several  nights.  She  then  sang  in  Florence, 
Leghorn,  Naples,  Geaoa  and  Rome.  Verdi 
heard  her  at  Genoa  and  assisted  her  in  securing 
an  engagement  at  La  Scala,  Milan,  where  she 
sang  foi  twenty-one  nights.  After  visiting 
other  Italian  cities,  she  appeared  at  Prague, 
and  in  1883  made  her  Parisian  d&ut.  She  is 
the  second  American  lady  to  sing  at  the  Opera 
Comique.  Her  repertoire  includes  "Sonnam- 
bula," "  Lucia,"  "  Puritani,"  "  Mignon," 
"Faust,"  and  other  operas. 

New     England    Psalin     Singer,  J 

The.  One  of  the  earliest  collections  of  mu-  I 
sic  published  in  this  country.  It  was  edited 
by  William  Hillings,  and  issued  Oct.  7,  1770. 
There  were  108  pages.  Most  of  the  music 
was  original.  The  work  seems  to  have  met 
with  a  reception  that  was  very  flattering  to  the 
author.  As  a  matter  of  curiosity,  the  title- 
page  is  here  given  in  full  : 

"The  New  England  Psalm  Singer;  yr 
American  Chorister.  Containing  a  number 
of  Psalm-tunes,  Anthems  and  Canons.  In 
four  and  five  Parts.  (Never  before  published). 
Composed  by  William  Billings,  a  Native  of 
Boston,  in  New  England.  Matt.  12.16.  'Out 
of  the  Mouth  of  Babes  and  Sucklings  hast 
thou  perfected  praise.'  James  5.I3.  'Is  any 
Merry?   Let  him  sing  Psalms.' 

().  praise  the  Lord  with  one  consent, 

And  in  this  grand  design 
Let  Britain  and  the  Colonies 
Unanimously  join  (jine)  !  ' 
Boston:    New-England.      Printed    by    Edes  & 
Gill." 
(  If  course,  the  music  in  "The  New  England 


Psalm  Singer"  was  very  crude,  and  of  this 
fact  Billings  seems  to  have  become  aware,  for 
in  his  second  book,  "The  Singing  Master's 
Assistant,"  published  in  1778,  he  says: 

"Kind  reader,  no  doubt  you  remember  that 
about  ten  years  ago  I  published  a  book  entitled 
'The  New-England  Psalm  Singer;  '  and  truly 
a  most  masterly  performance  I  then  thought  it 
to  be.  How  lavish  was  I  of  encomium  on  this 
my  infant  production.  'Welcome,  thrice  Wel- 
come thou  legitimate  Offspring  of  my  brain, 
go  forth  my  little  book,  go  forth  and  immor- 
talize the  name  of  your  Author;  may  your  sale 
be  rapid  and  may  you  speedily  run  through 
ten  thousand  Editions:'  Said  I,  'Thou  art 
my  Reuben,  my  first  born ;  the  beginning  of 
my  Strength,  the  Excellency  of  my  Dignity, 
and  the  Excellency  of  my  power.'  But  to  my 
great  mortification  I  soon  discovered  it  was 
Reuben  in  the  sequel,  and  Reuben  all  over; 
I  have  discovered  that  many  pieces  were  nev- 
er worth  my  printing  or  your  inspection." 

See  Billings,  William. 

New  York  and  Brooklyn. 

NEW    YORK. 

According  to  Dr.  F.  L.  Ritter's  "  Music  in 
America,"  musical  societies  were  established 
in  New  York  about  the  middle  of  the  lastcen- 
turv.  None  of  them  seem  to  have  secured 
any  permanence,  for  they  appeared  and  dis- 
appeared in  rapid  succession.  At  the  begin- 
ning of  the  third  decade  of  the  present  cen- 
tury the  principal  societies  were  the  Client! 
Society,  the  PMlharmonic  Society  (old),  the 
Euterpean,  and  a  Handel  and  Haydn  Society. 
The  latter  had  a  very  brief,  though  brilliant, 
existence.  Ten  years  later  they  were  the 
Musical  Fund  (old),  the  Euterpean,  and  the 
Sacred-Music  Society.  The  Musical  Fund 
was  the  successor  of  the  old  Philharmonic 
Society,  and  was  organized  about  1828.  Its 
membership  was  composed  of  professional  and 
amateur  gentlemen.  Monthly  rehearsals  were 
given  but  they  were  private.  The  Euterpean 
and  the  Sacred-Music  Society  are  noticed  in 
another  place.      As  early  as  1845  the  German 


HANDBOOK   OF    AMERICAN    .MUSIC   AND    MUSICIANS. 


population  of  New  York  had  several  socie- 
ties, the  principal  of  which  was  the  Concordia, 
conducted  by  Daniel  Schlesinger.  They  have 
at  present,  besides  the  DEUTSCHE  LlEDER- 
KRANZ,  several  Mannerchore,  while  the  resi- 
lient French  have  a  Cercle  d' ' Harmonie  in  a 
flourishing  condition.  Prominent  among  the 
glee  clubs  is  the  Mendelssohn  Glee  Club,  of 
which  Joseph  Mosenthal  is  conductor.  There 
is  also  the  Vpcal  Society,  S.  P.  Warren,  con- 
ductor, which  devotes  itself  to  the  lighter 
vocal  forms.  It  has  been  impossible,  in  an 
article  like  this,  to  give  a  description  of  or 
even  mention  all  the  societies  of  the  past  or 
present,  but  the  following  have  received  more 
or  less  extended  notices  : 

Oratorio  Society  of  New  York,  Symphony 
Society  of  New  York,  American  Musical 
Fund  Society,  New  York  Harmonic  Society, 
Sacred-Music  Society,  Arion,  Choral  Society, 
Deutsche  Liederkranz,  Futerpean,  Mendels- 
sohn Society,  Musical  Institute,  Mason  and 
Thomas  Soirees. 

Oratorio  Society  ok  New  Yoke  (The), 
was  organized  in  1873  and  incorporated  in 
June,  1X75.  The  object  of  its  formation  is 
the  promotion  and  cultivation  of  choral  music, 
both  sacred  and  secular,  by  the  study  and  pub- 
lic performance  of  works  of  the  highest  class. 
The  Society  is  governed  by  a  board  of  fifteen 
directors,  elected  annually  from  the  member- 
ship. The  fust  concert  was  given  at  Knabe 
»  Hall,  Dec.  3,  1883,  with  a  chorus  of  twenty- 
eight.  During  the  last  season,  that  of  1882- 
83,  it  became  necessary  to  limit  the  member- 
ship to  five  hundred.  Qualification  for  mem- 
bership is  based  upon  proficiency  in  sight- 
reading,  as  determined  by  the  conductor  by 
personal  examination.  The  Society  has,  in 
the  ten  years  of  its  existence,  given  ninety- 
three  public  performances  and  rendered  forty- 
four  works  or  parts  of  works.  In  the  spring 
of  18S1,  in  connection  with  the  Symphony 
Society,  it  planned  .and  carried  out  the  first 
great  May  Festival  held  in  New  York,  with 
both  artistic  and  financial  success.  The  festi- 
val chorus  numbered  1200,  and  the  orchestra 
-87.  The  average  audience  for  the  seven 
concerts  was  9100  persons.  The  festival  pro- 
gram included  the  following  works  :  Berlioz's 
"Grande  Messe  des  Morts"  (Requiem), 
Rubinstein's  "  Tower  of  Babel,"  Handel's 
"Messiah"      and     "  Dettingen     Te     Deum," 


Beethoven's  9th  Symphony,  and  Wagner's 
"  Meistersinger."  The  first  two  were  new 
in  America.  Most  notable  among  the  works 
produced  by  the  Society  at  its  regular 
concerts  are  "Requiem,"  Berlioz;  "Pas- 
sion Music"  (according  to  St.  Matthew), 
Bach;  "Requiem,"  Brahms;  "  Sulanuth," 
Damrosch ;  "Samson,"  "Messiah,"  "Judas 
Maccaba-us,"  "Israel  in  Egypt,"  "Alex- 
ander's Feast,"  and  "L' Allegro,"  Handel; 
"Creation,"  "Seasons,"  and  "Tempest," 
Haydn;  "Christus,"  Kiel;  "Christus,"  Liszt ; 
"Elijah,"  "St.  Paul,"  and  "  Walpurgis 
Night,"  Mendelssohn;  "Tower  of  Babel," 
Rubinstein;  "Paradise  and  Peri,"  Schumann, 
together  with  a  number  or  lesser  works.  It 
has  also  assisted  the  Symphony  Society  in  the 
production  of  "La  Damnation  de  Faust"  and 
"Romeo  and  Juliet,"  Berlioz  ;  9th  Symphony, 
Beethoven  ;  and  selections  from  the  "Meister- 
singer" and  "  Parsifal,"  Wagner.  Of  these 
works,  "Messiah"  has  been  given  18  times, 
"La  Damnation  de  Faust"  7  times,  "Creation" 
6  times,  "Elijah"  9  times,  "Tower  of  Babel" 
5  times,  "Requiem"  (Berlioz)  and  "St.  Paul" 
3  times  each.  The  Society  is  now  in  excel- 
lent financial  condition,  is  self-sustaining,  and 
without  debt.  It  has  had  but  one  musical 
conductor,  Dr.  Leopold  Damrosch,  to  whom 
belongs  its  inception,  and  to  whose  zealous 
and  tireless  efforts  is  chiefly  due  its  remarkable 
progress  and  unqualified  success.  His  unvary- 
ing geniality  and  courtesy  have  given  him  the 
affection,  and  his  musical  erudition  and  power 
the  eminent  respect  of  the  chorus. 

Symphony  Society  ov  New  York  (The), 
was  organized  in  187S,  and  chartered  April  8, 
1879.,  The  object  of  the  Society  is  the  pro- 
motion of  orchestral  music  in  New  York,  by 
the  study  and  public  performance  of  the  dif- 
ferent forms  of  classical  music,  especially  the 
symphony.  Among  its  incorporators  and 
directors  the  first  year  were  Fr.  Beringer, 
Wm.  H.  Draper,  August  Lewis,  Benj.  K. 
Phelps,  Joseph  Wiener,  Leopold  Damrosch, 
Stephen  M.  Knevals,  Morris  Reno,  Chas.  F. 
Roper,  Frederick  Zinsser,  and  Charles  ('. 
Dodge.  The  first  series  of  concerts  was  given 
during  1878-79.  The  Society  has  regularly 
given  twelve  public  performances  each  sea- 
son, which,  together  with  the  special  concerts, 
gives  a  total  of  sixty-four  concerts.  Eighty- 
nine  works  or  parts  of  works  have    been    ren- 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


dered,     besides    those    which    have  been   the 
special  work  of  the  soloists.     This  group  num- 
bers   twrntv  ilnei  .       Fourteen     entirely     new 
works  have  been   produced.     Of  the    orches- 
tral works,    the  following  are  the  most  impor- 
tant :      The     2nd,    3rd,    4th,    5th,  6th,  7th,  Sth  j 
and  i;th  symphonies    of   Beethoven,     together 
with  his  "Egmont,"  "Leon ore  No.  3,"  "Cor- 
ilan,"    and    "Consecration     of    the     Home," 
overtures;  Symphony  No.  3,  Max  Bruch  (first 
time);    "La    Damnation  de  Faust,"    "Romeo, 
and  Juliet,"    and    "Symphony    Fantastique," 
Berlioz;  1st  Symphony  (op.  68)   and  "Acade- 
mic Festival  Overture,"    Brahms;    "Spring," 
fantasia,     Bronsart  ;      "Anakreon,"    overture,  \ 
Cheiubini;    "Festival  Overture,"  Damrosch  ;  j 
"Slavonic  Rhapsodie,"    No.  2  (new),    Anton 
Dvorak;    overtures    "Sakuntala"    and    "Pen-! 
thesilea,"    Carl   Goldmark ;    Symphony    in  G 
I  No.  S,  Peter's  edition),  Haydn  ;  Norse  Suite,  | 
op.  22,  A.  Hamerik;    the    symphonic  poems, 
•'  lasso."     "  Les    Preludes,"    "  Fesfklange," 
"Ma/eppa,"  and  "Die  Hunnenschlacht,"  and 
the    "Hungarian     Rhapsodie"     No.   2,     Liszt; 
Symphony  in   C  minor    and    Symphony    in    C 
("Jupiter"),    Mozart;     "Scotch    Symphony" 
lop.  56),   and   overtures  "Midsummer  Night's 
Dream'"  and  "  Fingal's  Cave,"    Mendelssohn; 
second    movement    of    "Spring    Symphony," 
Joachim  Raff;    "Ocean  Symphony"  and  "La 
Russia"  (morceau  symphonique),  Rubinstein; 
overture,    "Olympia,"     Spontini ;    Symphony 
No.  2,  A  minor  (new),    Camille  Saint-Saens;  1 
Symphony  in  C  and  unfinished  symphony  in  B  | 
minor,  Schubert ;    Symphony  No.  2,  in  C,  and  | 
Symphony  No.  4,    in    D    minor,    Schumann  ;  i 
Suite,  op.  43  (new),   P.  Tschaikowsky ;    Sere- 
nade   No.  3,     Robert    Volkmann  ;     selections  | 
from  "Tristan  and  Isolde,"  "Parsifal,"  "Sieg- 
fried," "Die  Walkllre,"    and    "Der    Meis'ter- 
siriger  von  Ni'imburg,"  and  the  "Tannhaiiser"  j 
and  the  "Faust"  overtures,  Wagner;    "Eury- 
anthe,"  overture,  Weber.      The  following  list  | 
gives  the  concerts  for  piano,  violin,  etc.,    and  ; 
orchestra,  together  with  the  soloist  for  each  : 
Bruch   concert,   for  violin,    August  Wilhelmj. 
Max    Pinner. 
August  Wilhelmj. 

Madeline  Schiller. 
Franz  Rummel. 

Mau.  I  lengremont. 

August  Wilhelmj. 
Fran/    Rummel. 


BeethoA  en  " 

for  piano, 

Beethoven  " 

for  violin, 

Chopin 

for  piano, 

Grieg 

for  piano, 

Mendls'hn  " 

for  violin, 

Raff 

for  violin, 

Saint-Saens  ' 

for  piano, 

Saint-Saens  "  for  violoncello,  A.  Fischer. 
Saint-Saens  "  for  piano,  Madeline  Schiller. 
Scharwenka  "  for  piano,  Bern.  Bokelmann. 
Spohr  "      for  violin,      Michael   Banner. 

Volkmann  "  for  contralto.  Miss  Drasdil. 
Wilhelmj       •'       for  violin,   August  Wilhelmj. 

The  most  brilliant  of  the  Society's  single 
productions  was  that  of  "La  Damnation  de 
Faust,"  given  with  the  aid  of  the  Oratorio 
Society  of  New  York  (q.  v.).  The  success  of 
the  work  was  remarkable,  so  much  so  that  six 
performances  were  given  in  four  weeks.  The 
greatest  work  of  the  Society  (also  in  conjunc- 
tion with  the  Oratorio  Society)  was  in  the 
preparation  and  successful  production  of  the 
tirst  May  P'estival  given  in  New  York,  the 
general  features  of  which  are  to  be  found  in 
the  preceding  notice  (See  also  the  heading, 
May  Festivals).  Dr.  Leopold  Damrosch 
has  been  conductor  of  the  Society  from  the 
first.  W.  T. 

American  Musical  Find  Society  (The). 
The  first  movement  made  in  relation  to  the 
American  Musical  Fund  Society  of  New  York 
was  begun  by  the  founder  of  the  "American 
Art  Journal,"  Henry  C.  Watson,  in  its  pred- 
ecessor, the  "American  Musical  Times," 
June  ib,  1S48.  In  this  article,  and  in  several 
succeeding,  the  reasons  why  such  a  society 
should  be  established  were  fully  developed, 
and  the  attention  and  interest  of  the  profession 
fully  aroused.  The  melancholy  circumstances 
attending  the  death  of  Carl  Woehning  and  of 
T.  Y.  Chubb  accelerated  the  movement  thus 
openly  set  in  motion  by  Mr.  Watson,  and 
resulted  in  a  meeting  of  the  German  musi- 
cians, called  together  by  Mr.  David  Schaad, 
for  many  years  secretary  of  the  New  York 
Philharmonic  Society.  Several  meetings  took 
place  at  No.  26  Delaney  street,  at  which  a 
constitution  was  formed,  Mr.  Schneider  acting 
as  chairman,  Mr.  Jos.  Flick  as  treasurer,  and 
Mr.  Schaad  as  secretary  pro  tern.  Then  a  pub- 
lic call  was  made  for  all  resilient  musicians  to 
meet  at  the  Apollo  Soloon,  on  Dec.  23,  [848. 
Although  at  these  preliminary  meetings  it  was 
designed  to  make  the  Society  exclusively 
German,  the  public  call  brought  together  mu- 
sicians of  all  countries,  English,  Americans, 
French,  Italians,  and  Germans.  Mr.  Anthony 
Reiff  was  called  to  the  chair,  and  Mr.  Schaad 
acted  a  secretary.  The  principal  motion, 
which  settled    for    the    time    the    character    of 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIAN'S. 


the  Society,  was  "That  the  language  of  the 
organization  should  he  German."  This  was 
lost  by  an  overwhelming  majority,  although  of 
those  present  two-thirds  were  Germans.  It 
was,  however,  determined  that  the  constitution 
which  the  Society  might  adopt  should  he  trans- 
lated into  the  German  language.  The  consti- 
tution formed  at  the  preliminary  meetings  and 
rendered  into  English  by  Mr.  John  C.  Scherpf, 
Watson's  associate  on  the  "Musical  Times," 
was  submitted  to  the  musicians  present,  and, 
on  motion,  was  referred  to  a  committee  for 
alteration,  amendment  or  revision.  The  com- 
mittee chosen  and  elected  by  acclamation  were 
Henry  C.  Watson,  Henry  C.  Simm,  D.  G. 
Ktienne,  M.  Rafetti,  Thomas  Dodworth,  and 
Anthony  Reiff.  The  constitution  prepared  by 
this  committee,  with  a  German  translation  of 
it  by  Mr.  Scherpf,  was  submitted,  and,  after 
discussion,  was  adopted,  Feb.  16,  1849.  The 
charier  was  obtained  April  12th  of  the  same 
year.  *      *      * 

Philharmonic  Sociej  y.  This  Society  was 
founded  April  5,  1842,  for  the  purpose  of 
cultivating  instrumental  music.  The  first  con- 
cert was  given  Dec.  7,  1842,  at  the  Apollo 
Rooms,  since  when  concerts  have  regularlv 
been  given,  the  l.Sist  of  the  series  occurring 
April  12,  1879.  The  Chinese  Rooms,  Niblo's 
Garden,  Irving  Hall,  and  the  Academy  of  Mu- 
sic have  successively  been  used  for  the  pur- 
pose of  the  Society-  The  latter  was  destroyed 
by  fire  in  1801,  and  during  the  interim  of  re- 
building Irving  Hall  was  again  used.  Feb.  17, 
1853,  the  Society  was  duly  incorporated  under 
the  laws  of  the  State  of  New  York.  The  con- 
certs are  models  in  their  line,  and  the 
programs  cover  a  wide  range  of  the  best 
works,     which      are      instrumental     with     the 


exception     of    numerous      vocal      solos      and 
an     occasional     choral     piece.      The    orches- 
tra consists  of   about  96  performers,  each   one 
of  whom    is    an   actual    member,   and  among 
whom  the  profits  of  the  concerts  are  divided. 
I  The  Society   is  managed  by  the  actual  mem- 
!  bers.      Each    of   these    must   "be   an    efficient 
performer  on  some  instrument,  and  have  been 
,  a  permanent  resident  of  the  city  or  its  vicinity 
for    one    year    previous    to    his    nomination." 
An  excellent   set  of  rules    for    admission   and 
government  are  rigidly  enforced,  to  which  fact 
I  the  Society  owes   its  high  reputation.     There 
!  are    four   grades  of  membership,    besides  the 
one    already    specified,   as    follows:      1.   Asso- 
ciate,   those   who   are    admitted    to    the  public 
!  rehearsals  and  concerts  on  paying  a  stipulated 
!  sum   annually;    2.    Subscribers,    those  who  art- 
entitled    to  two   tickets   for   each  regular  con- 
\  cert,  the  price  being  regulated    each    year   by 
the  Society  ;  3.  Honorary,  a  title  conferred  on 
eminent   artists  by   the   unanimous   consent  of 
J  the   actual    members;     4.   Honorary  Associate, 
a    title    bestowed    upon    eminent  persons    not 
!  belonging  to  the  musical   profession.      Among 
j  the  honorary  members  are  Sir  Julius  Benedict 
j  (1S50),  and  Mme.  Parepa-Rosa  (1870).     The 
conductors    of   the    Society  have   been    H.  C. 
Timm    (1842-45,,     E.    J.     Loder    (1846-48), 
U.  C.   Hill  (1849-51),  Theodore  Eisfeld  ( 1S52- 
60),    Carl    Bergm.nn   (1861-75),  Dr.  Leopold 
Damrosch  (1876),  Theodore  Thomas  (1877), 
Adolph  Neuendoiff(  1878),  Theodore  Thomas 
[(1879).      The    Society's    headquarters     are   at 
j  Aschenbrodel's  Club   House,   74  East  4th  St., 
j  but  the   library — an  excellent  one — is  kept  at 
J  S33   East    '8th    St.     The  following  is  a  list  of 
1  instrumental  works  which  it  has  performed  up 
to  1881  : 


1st  Time. 

To.  'Finn's 

Work. 

1842,   Dec. 

7 

10 

Symphony  (C  minor), 

"         " 

7 

1 

Quintet  (D   minor). 

a               .< 

7 

•      7 

(  herlure  to  "( (heron," 

<< 

7 

• 

Overture  (D), 

1845,    Feb. 

18 

'4 

Eroica  Symphony, 

..                       <! 

iS 

2 

Overture   to  "William  Tell," 

.<                       « 

18 

3 

<  Iverture  to  "Freyschiitz," 

"     Apr. 

22 

T 

Symphony  No.  2, 

22 

4 

(  Iverture,'  "Midsummer  Night's  Ok 

"          " 

22 

1 

Septuor, 

.f                         41 

22 

5 

"Jubilee"  Overture, 

'843-44, 

13 

0 

Symphony  No.  7, 

<  (vertnre  to  Xauberrlote," 

"Jupiter"  Symphony, 

Composer. 

Beethoven. 

I  luminel. 

Weber. 

Kalliwoda. 

Beethoven. 

Rossini. 

Weber. 

Beethoven. 

Mendelssoh 

Beethoven. 

Weber. 

Beethoven. 

Mozart. 

Mozart. 


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1st  Time. 

Vo.  Times. 

//>/•. 

184.3-44 

1 

Septuor  (two  movements) 
Symphony  (  I  >  minor) 

8 

Overture  to  "Euryanthe" 

<> 

A 

Overture,  "Beherrscher  der  Ge 

ster" 

1844-4S 

6 

Symphony  No.  8, 

., 

^ 

Overture,  "Hebriden  " 
Symphony  No.  3, 

" 

5 

Overture  to   "Jessonda" 

" 

1 

(  >verture,  "Naids" 
Fest-Overture, 

* 

" 

9 

( (verture,  "Melusine" 

1845-46 

6 

Symphony  No.  3, 

" 

4 
1 

Overture  to  "Anacreon'' 
Overture  to  "Jeune  Henri" 

« 

1 

Overture,  "Marmion" 
Concert  overture, 
Symphony  No.  I, 

- 

" 

(> 

Overture,  "Les  Francs  Juges" 

4 

Symphony  (O   minor) 

- 

12 

Symphony  No.  6, 

_ 

« 

5 

Choral  Symphony  (No.  9) 

- 

1846-47 

7 

Symphony,  "Die  Weihe  der  Tone" 

2 

Symphony  (E  flat  major) 

«, 

1 

Overture  to  "King  Lear" 
Overture  (op.  3) 

1847-48 

1 

Symphony  No.  1, 

" 

5 

1 

Overture  to  "Egmont" 
Septuor  Concertando, 

- 

1848-49 

4 

: 

Symphony  (C  major) 
Double  Symphony, 
Prize  Symphony, 

2 

Overture,  "Wood  Nymph" 

2 

Triomphale, 
Concertstiick, 

1849-50 

9 

Symphony  No.  4, 

5 

Overture,  "Meererstille  und  Gliickliche  Kahrt" 

(< 

( tverture  to  "Les  Huguenots" 

,, 

4 
1 

Midsummer  Night's  Dream  inn 
Symphony  Concertando, 

sic. 

1850-5 r 

9 

Symphony  (C  major) 

- 

3 

1 

Symphony  (I!  rlat  major) 
Overture,  "Vampyr" 
( >verture,  "Vestale" 

tl 

2 

Overture,  "Robespierre" 
Concerto  No.  2  (violin) 

:  - 

1851-52 

6 

Symphony  No.  4, 
Overture,  "Joseph" 

- 
- 

(< 

2 

( )verture  to  "Faust" 
Concerto  No.  0  (violin) 

'852-50 

6 

Symphony  No.  1, 

- 

^5 

Overture,   "Ossian" 

5 

1 

Overture,    "Fingal's  Cave" 

Overture,  "Reiselust" 

- 

<> 

3 

Overture,  "In  the  Highlands" 

- 

i. 

9 

Overture,  "Leonore"  |  No.  3) 

1853  54 

1 

Symphony,  "The  Seasons" 

9 

1 

Symphony  No.  2  (  C  1 
Symphony  (  R  flat )      - 

k 

2 

( )verture,  "Vampyr" 

- 

u 

2 

Overture  to  "Faust" 

- 

'854-55 

1 

Overture,  "Abraham's  Sacriiic 
Overture  to  "I'reciosa" 
(  (verture,   "Maritana" 

-" 

It 

2 

Overture,  "Ruy  Bias" 

X 

1 

Overture,  "Olympia" 

" 

8 

Overture  to  "Taimhauser" 

Composer. 
Hummel. 
Spohr. 
Weber. 
Weber. 
Beethoven. 
Mendelssohn. 
Haydn. 
Spohr. 
Bennett. 
Hies. 

Mendelssohn. 
Mendelssohn. 
Cherubini. 
Mehul. 

Reissiger. 
Kalliwoda. 

Berlioz. 

Mozart. 

Beethoven. 

Beethoven. 

Spohr. 

Mozart. 

Berlioz. 

Bristow. 

Spohr. 

Beethoven. 

Lind  painter'. 

Cade. 

Spohr. 

Lachner. 

Bennett. 

Ries. 

Weber. 

Beethoven. 

Mendelssohn. 

Meyerbeer. 

Mendelssohn. 

Lindpainter. 

Schubert. 

Haydn. 

1  .indpainter. 

Spontini. 

LitolflF. 

F.  David. 

Mendelssohn. 

Mehul. 

Lindpainter, 

De  Beriot. 

Schumann. 

Cade. 

Mendelssohn. 

Lobe. 

Cade. 

Beethoven. 

Spohr. 

Schumann. 

Schneider. 

Marschnei . 

Spohr. 

Lindpainter. 

Weber. 

Wallace. 

Mendelssohn. 

Spontini. 

Wanner. 


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Titm 

j.                                             Wiw*. 

Compose/ . 

Concerto  (E  flat — piano) 

Beethoven. 

Symphony,  "Jullien" 

Bristow. 

Overture  to   "Iphigenia" 

Cluck. 

Overture,  "Hans  Heiling" 

Marschner. 

Overture,  "Medea" 

Cherubini. 

Overture  to  "Faust" 

Wagner. 

Overture,  "Uriel  Acosta" 

Schindelmeiss' 

Concert  Overture, 

Ries. 

Overture,  "Chant  des  Beiges" 

Litolff. 

Symphony  (E) 

Hiller. 

Overture  to  "Manfred" 

Schumann. 

Overture,  "Merry  Wives  of  Windsor" 

Nicolai. 

Overture,  "Coriolan" 

Beethoven. 

Overture,  Scherzo  and  Finale, 

Schumann. 

Symphony-Concerto  (piano) 

Litolffi 

Symphony  No.  5, 

Gade. 

Symphony  No.  2(D) 

Haydn. 

Symphony  (F  sharp) 

Bristow. 

Symphony  No.  4, 

Schumann. 

Overture  to  "Siege  of  Corinth" 

Rossini. 

Overture,  "Fierabras" 

Schubert. 

Concerto  (A  minor — piano) 

Schumann. 

7 

Tasso,  poeme-symphonique, 

Liszt. 

2 

Overture  to  "Fidelio" 

Beethoven. 

I 

Overture,  "Festival" 

Lachner. 

5 

Symphony  No.  3, 

Schumann. 

Overture,  "Leonore"  (No.  1) 

Beethoven. 

3 

Overture,  "Genoveva" 

Schumann. 

« 

Festklange,  poeme-symphonique, 

Liszt. 

Walpurgis  Night,        - 

Mendelssohn. 

2 

Symphony  No.  5, 

Mozart. 

5 

Les  Preludes,  poeme-symphonique, 

Liszt. 

5 

Overture,  "Carnaval  Romain" 

Berlioz. 

2 

Overture  to  "Rienzi" 

Wagner. 

Concerto  No.  2  (piano) 

Chopin. 

Concerto  for  violin, 

Beethoven. 

Overture,  "Traum  in  der  Christnacht" 

Hiller. 

Overture  (B  flat) 

Rubinstein. 

Fantasie  (piano) 

Schubert-Liszt 

Symphony, .  "Faust" 

Liszt. 

Hymn  of  Praise, 

Mendelssohn. 

Overture  to  "Flying  Dutchman" 

Wagner. 

Overture,  "Scotch" 

Gade. 

Concert  Overture, 

Rietz. 

Symphony  (E  flat) 

Haydn. 

Overture,  "Medea" 

Bargiel. 

Concerto  (violoncello) 

Ritter. 

4 

Mazeppa,  poeme-symphonique, 

Liszt. 

i 

Symphony  No.  1  (D  major) 

Mozart. 

2 

Symphonie  Fantastique, 

Berlioz. 

3 

Overture,  "Prometheus" 

Bargiel. 

Introduction,  "Tristan  and  Isolde" 

Wagner. 

Symphony  (D  minor ) 

Volkmann. 

Romeo  and  Juliet  (two  movements) 

Berlioz. 

Overture,  "Nachtlicher  Zug" 

Liszt. 

Overture,  "Columbus'' 

Bristow. 

Introduction  to  "Lohengrin" 

Wagner. 

Overture  to  "Les  deux  Journees" 

Cherubini. 

Overture,  "Othello" 

Ritter. 

Reformation  Symphony, 

Mendelssohn. 

Symphony  (unfinished) 

Schubert. 

Music  to  "Manfred" 

Schumann. 

Overture,  "Hamlet" 

Gade. 

Overture,  "Semiramide" 

Catel. 

Suite, 

Bach. 

-J 

Symphony,  "Divina  Commedia" 

Liszt. 

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tst  Time. 

No.  Time. 

Work. 

lN<l!)-7<J 

1 

Symphony  (C) 

(  Overture,  "Sakuntala" 

" 

2 

Overture,  "Leonore"  1  N 

1X70  71 

2 

Symphony,  "Ocean" 

" 

Music  to  "Egmont" 
Overture,  "Aladdin" 
Overture  to  "Idomeneo" 

1871-72 

Svni]  >hony  ( ( 1  major) 

1872-73 


1873-74 


•874-75 


1875-76 
.876-77 

1877-78 
1878-79 

1879  80 


Symphony,  "Im  Wal< 

Symphony  No.  2, 

<  >verture,  "Julius  Caesar" 

Overture  to  "Meistersinger  von   Niirnberg' 

( iverture,  "Macbeth" 

Symphony  No.  4, 

Symphony  No.  8, 


,,    'Oxford" 
Overture,  "Prinzessin  Use" 
Overture,  "Consecration  of  th( 
(  h  erture,  "Galilei" 
Symphony  N< 


House" 


cadia 


mi  to  "Loreley" 
••Michel  Angel* 


Intro* 

Overt 

Suite, 

Symphony  No.  9, 

Symphony  No.  6, 

Symph   ny  No.  3, 

Symphony  No.  1, 

Andante  from  op.  < ;  7, 

Ciaconne, 

( )verture,  "Normannezug" 

Overture  (op.  15) 

Fantasie — Overture, 

Symphony  No.  1,        - 

Symphony  No.  2, 

Overture,  "Julius  Ca'sar" 

Overture  to  "Faniska" 

Overture,  "Romeo  and  Julia" 

Symphony,    "Landiche  Hochzeil" 

Serenade, 

Fantasie, 

First  act  of  "Walkiire"      - 

Scena  from  "Gotterdammerung" 

Concerto  (piano ) 

Concerto  ( piano  1 

Symphony  No.  1, 

Symphony  No.  2. 

Serenade, 


up] 


Ni 


1  funnel 

Fantasia,  "Francesca  di  Rimini" 

Symphony  No.  3, 

Symphony  No.  4, 

Walkiire  Ritt  und  Siegfrieds  Tod, 

Third  act  of  "Gotterdammerung" 

( loncerto  ( piano) 


Composer. 
Raff. 

Goldmark. 
Beethoven. 
Rubinstein. 
Beethoven. 
Reinecke. 
Mozart. 
Havdn. 
Raff. 
Kilter. 
Schumann. 
Wagner. 
Hcinefetter. 
Raff. 
Cade. 
Haydn. 

Erdmansdorfer. 
Beethoven. 
Matzka. 
Rubinstein. 
Brislow. 
Raff. 
Bruch. 
Gade. 
Grimm. 
Haydn. 
Raff. 
Spohr. 
Mozart. 

Beethov'n- Liszt 
Bach-Liszt. 
Dietrich. 
Lassen. 
Bennett. 
Metzdorff. 
Raff. 
Billow. 
Cherubini. 
Tschaikowsky 
Goldmark. 
Fuchs. 
Beethoven. 
Wagner. 
Wagner. 
Saint-Saens. 
Bronsart. 
Brahms. 
Rubinstein. 
Volkmann. 
Brahms! 
Brahms. 
l.is/t. 

Tschaikowsky. 
Tschaikowsky. 
Rubinstein. 
Wagner. 
Wagner. 
Tschaikowsky. 


New  York  Harmonic  Society.  This 
Society,  which  was  in  a  measure  the  successor 
of  the  "Sacred-Music  Society,"  was  organized 
Monday,  Sept.  24,  1849.  Rehearsals  were  at 
once    begun    under  the  voluntary  direction   (  f 


H.  C.  Timm,  and  soon  after  Theodore  F^isfeld 
was  elected  permanent  conductor.  On  the 
evening  of  May  10,  1850,  the  Society  gave  its 
first  public  performance,  which  consisted  of 
the    "Messiah."     On    the    <ili    of  November 


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following,  the  oratorio  was  repeated,  Jenny 
Lind  singing  the  soprano  solos.  June  28, 
185 1,  Mendelssohn's  "Elijah"  was  given  at 
Tripler  Hall.  The  Society  experienced  the 
difficulties  which  usually  beset  such  an  under- 
taking, and  was  several  times  reorganized. 
In  1863,  a  number  Ot  dissatisfied  members 
instituted  a  rival  society,  called  "Mendels- 
sohn Society."  It  continued  to  hold  its  own, 
however,  until  1869,  when  it  met  the  fate  of 
its  predecessors,  after  a  useful  life  of  twenty 
years.  Its  rival  society  did  not  very  long 
survive  it.  Among  the  works  which  it  ren- 
dered are  "Creation,"  "Judas  Maccaboeus," 
"Samson,"  Neukomm's  "David,"  Mendels- 
sohn's "Hymn  of  Praise,"  Bristow's  "Praise 
to  God,"  Kilter's  "  Forty-Sixth  Psalm,"  and 
Bach's  cantata,  "Who  believeth  and  is  bap- 
tized" (1S65).  The  conductors  were  H.  C. 
Timm,  Theo.  Eisfeld,  Geo.  F.  Brislow,  Carl 
P.ergmann,  Gen.  W.  Morgan,  F.  L.  Ritter, 
and  J.  Peck. 

Sacred-Music  Society  (The),  was  organ- 
ized in  1823.  The  circumstance  which  led  to 
its  institution  seems  to  have  been  a  dissention 
between  the  choir  and  the  vestry  of  Zion 
("lunch,  located  at  the  coiner  of  Molt  and 
Cross  streets.  The  choristers  petitioned  the 
vestry  for  an  increase  of  salary  or  permission 
to  give  concerts.  This  being  refused,  they  final- 
ly "resolved  to  withdraw  in  a  body,  and  for 
the  purpose  of  continuing  the  practice  of  sa- 
cred music  formed  the  Sacred-Music  Society. 
The  first  concert  was  given  at  the  Presbyterian 
church,  Provost  street,  Monday  evening, 
March  15,  1824,  with  a  varied  program,  inclu- 
ding numerous  selections  from  Chappie. 
Wednesday  evening,  Feb.  28,  1827..  the  Soci- 
ety gave  a  concert  for  the  benefit  of  the 
Greeks,  which  netted  £590.  Malibran  as- 
sisted. This  event  gave  it  a  fresh  impetus 
which  was  very  beneficial.  It  was  not  until 
Nov.  18,  1831,  at  St.  Paul's  Chapel,  that  an 
entire  oratorio  was  performed,  which  was  the 
"Messiah."  The  solo  singers  were  Mrs. 
Austin,  Mrs.  Singleton,  John  Jones,  A.  Kyle, 
J.  Pearson,  and  Thomas  Thornton.  The 
orchestra  numbered  ^8  and  the  chorus  74  per- 
formers. This  is  said  to  have  been  the  first 
performance  of  an  entire  oratorio  in  New 
York  City.  It  was  repealed  Jan.  31  and  Feb. 
2,  1832.  From  this  time  the  Society  devoted 
itself  to  a  better  class  of  works.      Another  im- 


portant event  in  its  history  was  the  production, 
Oct.  29,  1S3S — only  two  years  after  its  first 
production  at  Diisseldorf  under  the  direction 
of  the  composer — of  Mendelssohn's  oratorio, 
"St.  Paul."  In  1849,  after  an  existence  of 
twenty-six  years,  the  Society  ceased  to  exist, 
and  was  succeeded  by  the  New  York  Har- 
monic Society  (see  preceding).  Uriah  C.  Hill 
was  for  many  years  its  conductor. 

Arion  (The).  This  society  was  formed  in 
1854  by  members  who  seceded  from  the 
Deutsche  Liederkranz.  It  is  devoted  entirely 
to  the  cultivation  of  male  choruses,  and 
women  are  only  invited  to  participate  on 
special  occasions.  A  noteworthy  event  in  the 
history  of  the  society  was  the  production  in 
1859  of  Wagner's  "Tannhauser,"  for  the  first 
time  in  America.  Six  concerts  are  given 
each  year  at  its  own  hall.  Its  conductors  have 
been  Meyerhofer  (1854-58),  Bergmann  (1859), 
Ansehutz  (1S60-61),  F.  L.  Ritter  ( 1862-66), 
Bergmann  (1867-70),  and  Dr.  Damrosch  (1870 
to  his  death  in  1884). 

New  York  Choral  Society  (The)  was  in 
a  measure  a  consolidation  of  previously  exist- 
ing societies,  and  was  organised  in  September, 
1823.  A  small  army  of  officers  was  elected, 
the  president  and  three  vice  presidents  all  be- 
ing clergymen.  James  H.  Swindalls  acted  as 
first  conductor.  The  constitution  required 
that  each  active  male  member  pay  one  dollar 
into  the  treasury.  Subscribers  were  required 
to  pay  Sio  per  annum.  The  first  concert  of 
the  Society  was  given  at  St.  George's  Chapel, 
Beekman  St.,  April  20,  1824,  the  program 
consisting  of  selections  from  Handel,  Beetho- 
ven, Mozart  and  Jomelli.  The  chorus  was 
fifty  and  the  orchestra  twenty  strong.  One  of 
the  objects  of  the  Society  was  to  assist  with 
its  talents  any  benevolent  institution. 

Deutsche  Liederkranz.  The  beginning 
of  this  society  dates  back  to  the  autumn  of 
1846,  when  a  call  was  issued  to  the  Germans 
of  New  York.  In  January,  1847,  a  consti- 
tution was  adopted,  a  board  of  directors 
selected,  and  a  conductor  appointed.  Re- 
hearsals were  held  at  the  old  Shakspeare 
Hotel  and  concerts  given  at  intervals.  In 
1850,  Agricola  Paur  became  conductor,  a  post 
which  be  still  retains.  Four  years  later  a 
dissension  occurred  which  resulted  in  the 
establishment  of  the  Arion.  In  1856  women 
were    admitted    as    active    members — a     verv 


II. 


HANDBOOK.    OF    AMERICAN    MUSIC   AND   MUSICIANS. 


wise  step,  and  one  which  increased  the  scope 
of  the  society  as  well  as  insure  1  greater 
permanency.  The  society  has  a  building  of 
its  own,  in  the  hall  of  which  several  concerts 
are  given  each  season.  Among  the  more  im- 
portant works  performed  are  Mozart's  "  Re- 
quiem;" Mendelssohn's  "Walpurgisnacht," 
"Festgesang  an  die  Kunstler,"  "Lobgesang," 
finale  to  "Loreley,"  and  "Antigone;"  Schu- 
mann's "  Des  Sangersfliich,"  "Manfred," 
"  Uer  Rose  Pilgerfahrt,"  "Vom  Pagen  Und 
der  Konigstochter,"  and  "Das  Paradies  und 
der  Peri;"  Liszt's  "Prometheus;"  Cade's 
"Coniala;"  Schubert's  "Die  Yerschworenen;" 
Bruch's  "Odysseus,"  etc. 

EuXERPEAN  (The)  was  organized  about 
the  beginning  of  the  present  century,  and  was 
for  a  long  time  the  oldest  musical  society  in 
New  York  City.  It  was  composed  of  instru- 
mental performers,  met  every  Friday  evening 
during  the  summer  months,  and  gave  but  one 
concert  a  year.  Its  artistic  influence  seems  to 
have  been  rather  small,  for  the  critics  of  that 
time  found  much  fault  with  it.  At  a  concert 
given  at  the  City  Hall,  June  30,  1839,  the  or- 
chestra consisted  of  6  first  violins,  5  second  vio- 
lins, 4  tenors,  3  violoncellos,  2  contra-basses, 
4  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4 
horns,  2  trumpets,  3  trombones,  kettledrum, 
drum,  and  cymbals.  The  society  was,  in  a 
measure,  the  predecessor  of  the  Philharmonic 
Society,  before  whose  institution  in  1842  it 
ceased  to  exist. 

Musical  Institute.  This  chorus  society 
was  organized  about  1844.  It  brought  out  in 
September,  184b,  Haydn's  "  Seasons,"  and 
other  oratorios  afterwards.  April  11,  1848, 
Schumann's  "  Paradise  and  the  Peri"  was 
performed,  and  it  is  said  that  the  composer 
was  very  much  pleased  when  he  heard  of  the 
fact  (See  "Neue  Zeitschrift  far  Musik."  )  The 
society  also  produced  Rossini's  "Stabat 
Mater"  for  the  first  time  in  America.  H.  C. 
Timm  was  its  conductor.  The  chorus  num- 
bered 120  and  the  orchestra  60  performers. 
About  1850  the  society  ceased  to  exist,  being 
merged,  along  with  the  Vocal  Society  and  the 
Sacred-Music  Society,  into  the  New  York 
Harmonic  Society. 

Mason-Thomas  Soirees.  These  stirpes 
were  established  in  1855,  and  were  given  at 
the  Dodworth  rooms  on  Broadway  and  Elev- 
enth street.      William  Mason  was  pianist,  and 


Theodore  Thomas,  Joseph  Mosenthal,  George 
Matzka  and  Carl  Bergmann,  constituted  the 
string  quartet.  Bergmann  was  at  the  end  of  a 
year  succeeded  by  Brannes,  and  finally  by 
F.  Bergner.  The  works  performed  were  of 
the  highest  order  and  represented  both  classi- 
cal and  modern  composers.  The  soirees  mer- 
ited better  patronage  than  they  received. 
They  were  discontinued  in  1866. 

BROOKLYN. 

The  Aroi.1.0  Club,  composed  exclusively 
of  male  voices,  is  the  representative  musical 
society  in  this  city,  and,  in  excellence  of 
ensemble,  is  vocally  what  the  Philharmonic  is 
instrumentally.  The  Club,  now  in  its  fifth 
season,  is  as  successful  financially  as  it  is 
musically.  Three  subscription  concerts  are 
given  during  the  season  under  the  direction 
of  Mr.  Dudley  Buck,  and  are  attended  by  the 
best  musical  people  in  the  city.  The  class 
of  music  interpreted,  though  not  particularly 
elaborate,  is  usually  of  a  high  order.  Several 
of  Mr.  Buck's  most  successful  works  were 
dedicated  to  and  sung  for  the  first  time  by 
the  Club.  Of  these  were  "The  Nun  of 
Nidros,"  "  King  Olaf's  Christmas,"  and 
"Chorus  of  Spirits  and  Houris"  from  Shelley's 
"Prometheus  Unbound."  The  Club  from  its 
inception  has  steadily  increased  in  reputation, 
as  well  as  in  a  financial  sense.  It  originated 
primarily  from  the  defunct  St.  Cecilia  Society, 
and  was  the  outcome  of  a  dispute  between 
several  prominent  members  and  their  conduc- 
tor, Mr.  E.  J.  Fitzhugh.  At  a  meeting  held 
at  the  residence  of  Mr.  Chauncey  Ives,  Nov. 
1st,  1877,  the  Schubert  Club  was  organized, 
which  was  afterward  changed  to  that  of  the 
Apollo.  The  first  rehearsals  were  held  at 
Evans'  music  rooms,  177  Montague  Street, 
and  the  initial  concert,  under  Mr.  Buck's 
leadership,  was  given  at  the  Art  rooms,  Mon- 
tague Street,  March  27th,  1878,  with  a  mem- 
bership of  twenty-four.  The  expenses  were 
defrayed  by  each  member  being  assessed  a 
pro  rata  amount.  The  success  of  this  first 
conceit  led  to  the  organization  being  placed 
upon  a  solid  financial  basis.  A  meeting  to 
that  end  was  held  June  5th,  at  the  house  of 
the  late  Dr.  Albert  E.  Sumner,  and  Mr.  Wm. 
B.  Leonard  was  appointed  president.  The 
financial  results  of  the  first  year  showed  a 
modest  balance  for  the  Club  of  four  dollars. 
The  present  year  shows  a  balance  of  £2,508  to 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


the  bank  account  of  the  Club.  Subscribing 
members  are  limited  to  three  hundred  and 
active  members  to  sixty.  From  the  former 
party  directors  are  annually  elected,  in  whom 
is  vested  the  government  of  the  Club.  The 
officers,  who  remain  the  same,  are  W'm.  1!. 
Leonard,  president;  L.  S.  Burnham,  vice- 
president;  William  B.  Kendall,  treasurer; 
Robert  S.  Granniss,  secretary  for  board  of 
directors;  I.  A.  Stanwood,  chairman  active 
members ;  Henry  S.  Brown,  secretary,  and 
William  B.  Rowe,  Jr.,  librarian.  In  the 
death  of  the  second  vice-president,  Dr.  Sum- 
ner, the  Apollo  Club  lost  not  only  one  of  the 
originators,  but  a  valuable  counsellor  and 
friend.  Rehearsals  are  held  Monday  evenings, 
at  Everett  Hall,  Fulton  Street. 

The  Amateur  Opera  Association  is  prob- 
ably the  most  complete  organization  of  its  kind 
in  the  country.  Its  members  are  among  the 
best  amateurs  of  the  city,  while  the  perform- 
ances given  are  usually  of  a  very  creditable  or- 
der. The  Association  is  now  in  its  eighth  year, 
with  an  established  reputation.  From  small 
beginnings  the  society  has  grown  to  be  a  con- 
siderable factor  among  the  several  very  excel- 
lent amateur  dramatic  and  musical  associations 
of  the  city.  The  following  brief  facts  will 
show  the  progress  made  by  'he  Association 
from  its  inception.  It  was  organized  in  1877 
from  the  choir  of  .St.  Peter's  P.  E.  Church, 
by  Mr.  Henry  E.  Hutchinson,  who  became 
the  musical  director,  a  position  he  retained  for 
three  years.  The  first  board  of  management 
was  composed  of  Henry  E.  Hutchinson,  James 
Mogle  and  James  Walter  Thompson.  To  the 
early  efforts  of  Mr.  Pogle  the  .Association  owes 
much  of  its  present  success.  The  first  opera 
given  was  "Martha, "which  occurred  in  1878111 
a  hall  upon  the  site  of  which  the  Music  Hall 
now  stands.  The  success  of  this  opera  was 
followed  by  the  production  of  the  "Doctor  of 
Alcantara,"  with  Mr.  Charles  H.  Parsons,  a 
well-known  amateur,  at  the  head  of  the  man- 
agement. Performances  were  given  at  the 
Union  League  Theatre,  N.  \  .,  and  at  the 
Novelty  Theatre  in  Williamsburg.  The  "Bo- 
hemian Girl,"  "Fra  Diavolo,"  "Maritana" 
and  the  "Pirates  of  Penzance,"  followed  in 
quick  succession,  and  were  given  at  the 
Academy  of  Music  with  more  or  less  success. 
The  most  ambitious  and  successful  effort  yet 
made  by  tlu-  Association  was   tlu-  performance 


of  the  "Chimes  of  Normandy,"  which  was  a 
revelation  even  to  the  most  sanguine  friends  of 
of  the  society  and  fairly  placed  it  upon  a  solid 
and  artistic  basis.  The  Association  is  partic 
ularly  fortunate  in  the  selection  of  its  officers. 
Mr.  Parsons,  president,  brings  to  the  position 
real  executive  ability  and  hard  work,  as  also 
do  Mr.  B.  R.  Weston,  vice-president?  Mr. 
Henry  Gorham,  secretary;  Mr.  A.M.  Wilder, 
Jr.,  treasurer,  and  Signor  Kafael-Navarro, 
musical  director.  The  rooms  of  the  Associa- 
tion are  at  179  Montgue  Street. 

The  Amphion  Musical  Society  has  its 
headquarters  in  the  Fiastern  District,  and 
occupies  a  handsome  suite  of  club-rooms, 
including  a  hall  for  rehearsals,  corner  of 
Clymer  Street  and  Division  Avenue.  The 
Society  has  a  two-fold  basis  —  musical  and 
social.  It  is  now  in  its  third  year  and  has 
experienced  a  success  almost  phenomenal. 
The  active  membership  is  limited  to  sixty  and 
the  honorary  membership  to  four  hundred. 
The  former  is  composed  of  some  good  material, 
which,  under  the  able  direction  of  Mr.  C. 
Mortimer  Wiske,  is  welded  into  a  compact 
body  of  voices  capable  of  doing  some  good 
work.  Three  invitation  concerts  are  given 
during  the  season  at  the  Academy  of  Music, 
which  are  attended  by  the  best  people  in  the 
Eastern  District.  The  programs  provided  on 
these  occasions  are  generally  of  a  light  char- 
acter and  comprise  mainly  German  and  Eng- 
lish part  songs.  The  Society  was  organized 
Sept.  5,  1SS0,  and  the  first  rehearsal  took  place 
Oct.  5th.  The  initial  concert  was  given  Jan. 
24,  1881,  in  Bedford  Avenue  Reformed 
Church,  with  a  chorus  of  thirty-six  voices, 
directed  by  their  present  conductor,  Mr. 
Wiske.  The  success  of  this  concert  stimu- 
lated its  promoters  to  greater  activity.  At  the 
first  annual  election  of  officers,  held  in  May, 
Mr.  (ieo'-ge  Fischer  was  elected  president. 
The  second  concert  of  the  second  season  was 
given  in  the  Academy  of  Music,  an  interesting 
feature  of  which  was  the  production  by  the 
Society  of  an  ambitious  composition,  •'  Frit 
hof."  Thomas'  orchestra  assisted  on  this 
occasion.  The  social  element  is  a  strong 
feature  in  the  work  of  the  Society  and  well 
appointed  rooms  are  set  apart  for  social  inter- 
course and  recreation.  The  organization 
exerts  an  educating  and  refining  influence  in 
the  community  to  which  it  especially  belongs. 


UN 


HANDBOOK    OF    AMERICAN    MUSIC   AND    MUSICIANS. 


The  presenl  officers  of  the  Society  are  George 
H.  P'isher,  president;  Messrs.  Benjamin 
Russell  and  Geo.  \  .  Tompkins,  vice— presi- 
dents; Win.  \i.  Seymour,  recording  secre- 
tary; Robert  W.  Butler,  financial  secretary; 
|oseph  Applegate,  treasurer;  Arthur  C. 
iluene,  librarian,  and  C.  Mortimer  Wiske, 
musical  director. 

The  Brooklyn  S.kn<;erhi  nd,  the  oldest 
and  largest  singing  society,  occupies  rooms, 
temporarily,  at  200  Court  Street.  It  was 
founded  on  the  cth  of  July,  1802,  l>y  the  con- 
solidation of  the  Thalia  and  Liederkranz,, 
with  forty  members,  all  good  voices  and 
music-lovers.  At  the  different  national  Sang- 
er festivals,  in  New  York,  1865,  Philadelphia, 
1807,  and  in  Baltimore,  186c,  the  Bund  won 
prizes  and  laurels;  „nd  again,  in  Philadel- 
phia, 1S82,  carried  off  the  second  highest 
prize.  The  present  custom  of  giving  an  annual 
masquerade  ball  originated  in  1866,  which  was 
first  held  at  Montague  Hall.  The  annual 
occurrence  of  these  fancy  balls,  which  take 
place  at  the  Academy  of  Music,  is  an  event  of 
considerable  interest  to  the  friends  of  the 
society  and  the  general  public.  The  society 
is  established  upon  a  solid  financial  basis  and 
is  conspicuous  for  its  benevolent  efforts  in 
limes  of  great  distress.  The  present  officers 
and  life  members  are  Ceorge  Rehn,  president; 
John  N.  Eitel,  vice-president;  Carl  F.  Eisen- 
ach, secretary;  Ceorge  Dietrick,  treasurer; 
Charles  \Y.  Muhlhausen,  financial  secretary, 
and  William  Groschel,  musical  conductor. 

The  Dudley  Bt  ck  Cn  aki  kt  Club,  organ- 
ized in  1880,  enjoys  an  excellent  and  extended 
reputation.  The  class  of  music  interpreted 
by  this  organization  is  necessarily  of  a  very 
limited  character.  The  members  comprising 
it  are  all  artists  of  recognized  ability,  and, 
under  the  personal  direction  of  Mr.  Dudley 
Buck,  the  eminent  composer,  are  in  almost 
constant  practice.  In  the  singing  of  ipiartet 
music  the  Club  is  probably  without  a  rival 
in  the  State,  while  the  concerts  given  are 
among  the  most  elevating  and  entertaining  of 
I  heir   kind   listened  to. 

Academy  of  Mi  sic  (The)  was  erected  in 
the  year  1850.  The  first  public  meeting  of 
citizens  in  promotion  of  the  object  was  held 
February  14th  of  the  same  year,  when  it  was 
resolved  to  erect  a  suitable  building  for  musi- 
cal, literary  and  scientific  purposes.     To   this 


end  subscriptions  were  invited.  A  building 
committee  composed  of  Messrs.  A.  A.  Law, 
chairman;  A.  M.  White,  treasurer;  Luther  B. 
Wyman  and  S.  B.  Chittenden,  accepted  plans 
submitted  by  Leopold  Frdlitz,  architect.  The 
builders  were  John  French  and  Tappan  Reeve 
and  company  ;  decorator.  Louis  H.  Cohn. 
The  building  is  a  plain  structure  of  Philadel- 
phia brick,  and  occupies  a  site  of  ten  lots 
upon  Montague  street,  near  Fulton.  Its 
dimensions  are  250x100  feet,  and  it  was 
erected  at  a  cost  of  .^220,000.  The  interior  is 
of  horse-shoe  shape  and  of  Moorish  design. 
The  general  appearance  of  the  building,  both 
as  to  its  exterior  and  interior,  is  severely 
plain  and  unattractive.  The  stage  is  70x80 
feet,  with  a  proscenium  44  feet.  The  audi- 
torium has  a  sealing  capacity  of  2300,  and  is 
divided  into  parquet,  balcony,  dress  circle  and 
gallery.  The  foyer  is  40x70  feet,  leading 
from  which  are  two  dirctors'  rooms.  Over 
these  rooms  is  the  assembly  rot  m,  40x90,  with 
a  sixty  feet  ceiling.  This  room  is  used  for 
receptions,  musicales,  socials,  etc.  The  first 
public  performance  occurred  Jan.  22,  1861, 
with  Italian  opera  under  the  management  of 
Jacob  Grau.  The  initial  opera  was  "II  Giura- 
mento,"  given  by  a  powerful  company,  in- 
cluding Mme.  Pauline  Colson,  Miss  Isabella 
Hinckley,  Adelaide  Phillips,  Signors  Brignoli, 
Elena,  Ferry,  Susini,  Steffani,  Ipolito  and 
Colletti.  Sig.  Muzio  was  musical  director. 
It  was  the  original  intention  of  the  promoters 
of  the  Academy  not  to  allow  the  use  of  the 
building  for  other  than  musical  or  literary 
purposes,  which,  however,  proved  financially 
impracticable.  The  first  dramatic  performance 
given  in  the  building  was  under  the  manage- 
ment of  Henry  C.  Jarrett,  and  in  it  Messrs. 
J.  W.  Wallack  and  E.  L.  Davenport  partici- 
pated. The  Academy  is  now  used  for  almost 
any  purpose  for  which  it  may  be  engaged, 
subject,  of  course,  to  the  decision  of  the  direc- 
tors. The  principal  use,  however,  to  which 
the  building  is  devoted  are  the  Philharmonic, 
the  Apollo  and  the  Amphion  concerts,  Italian 
opera,  public  meetings,  and  private  dramatic 
entertainments.  The  shareholders  number 
about  300,  and  these,  with  the  directors,  ait- 
entitled  to  free  admission,  according  to  the 
charter,  to  all  public  performances.  The 
present  (1884)  officers  of  the  Academy  are 
Henry  Sanger,  president  ;  I.  1 1.  Frothinghani, 


HANDBOOK    <  >F    AMERICAN    MUSIC    AND    MUSICIANS. 


treasurer,  and  C.  A.  Townseud,  secretary. 

Brooklyn  Philharmonic  Society  was 
organized  and  incorporated  in  1857,  having  in 
view  the  advancement  of  music  in  that  city. 
Membership  may  he  obtained  by  paying  the 
sum  annually  fixed  by  the  directors,  but  the 
number  is  limited.  The  Society  is  directed  by 
a  directory  of  25  members,  annually  chosen, 
who  appoint  the  government.  Five  or  more 
concerts  are  given  every  season,  each  preceded 
by  three  public  rehearsals.  These  are  of  high 
order,  and  include  the  best  works  of  every 
-.lyle,  some  of  which  have  been  produced  for 
the  first  time  in  America.  The  orchestra  is 
large,  and  composed  of  the  best  musicians  that 
can  be  obtained.  At  first  the  Brooklyn  Ath- 
enseum  was  used  for  the  Society's  perform- 
ances, but  since  1X62  the  Academy  of  Music, 
which  is  capable  of  accommodating  about 
jooo  persons,  has  been  employed  for  that 
purpose.  The  conductors  have  been  as  fol- 
lows :  Theodore  Kisfeld  (  1857-62),  Theodoie 
Thomas  (  1X021,  Theodore  Kisfeld  (1X03-64), 
Carl  Bergmann  (1865),  Theodore  Thomas 
I1X66-69),  Carl  Bergmann  (1870-72),  Theo- 
dore Thomas  (1873-80).  The  Society  has  a 
library  of  over  100  orchestral   works. 

P.  J.  Smith. 

Brooklyn  Conservatory  of  Music.  This 
institution  was  founded  in  1X60  by  Prof.  J.  W. 
Groschel.  It  was  subsequently  reorganized 
and  improved  by  Miss  Louise  Groschel  and 
Mrs.  S.  Groschel-Chadick,  daughters  of  the 
founder,  under  whose  efficient  management  it 
-.till  remains.  The  former  lady  was  for  some 
lime  a  pupil  of  the  Conservatorium  at  Stuttgart 
and  of  Adler  at  Paris.  All  the  usual  branches 
of  music  are  taught  and  in  addition,  when  so 
desired,  the  French  and  German  languages. 
A  series  of  four  chamber  music  soirees  was 
given  during  the  past  season  (  1883  (,  the  pro- 
grams of  which  were  of  high  order.  The  pro- 
prietors of  the  Conservatory  have  a  summer 
school  at  Westwood,.N.  J.,  which  enables  the 
pupils  to  uninterruptedly  continue  their  studies 
if  they  so  desire. 

Neuendorf!',  ADORPH,  was  bom  June  13, 
1843,  at  Hamburg,  and  showed  a  great  apti- 
tude for  music  at  an  early  aye.  It  was  not 
intended,  however,  that  he  should  follow  the 
profession  of  a  musician,  but  rather  that  of  his 
father,  a  prosperous  merchant.  A  series  of 
reverses  led  the  family  to  come  to  tbe  United 


States,  in  June,  1X55,  with  the  hopes  of  better- 
ing their  prospects.  Weinlich,  basso  of  a 
German  opera  company  playing  in  New  York 
and  a  good  violinist,  became  an  inmate  of  the 
household  and  kindly  consented  to  give  young 
Adolph  some  lessons  on  the  violin.  After 
two  years'  study  he  secured  the  position  of 
first  violinist  in  the  orchestra  of  the  old  Stadt 
Theatre.  About  this  time  he  commenced 
studying  the  violin  under  Matzka  and  theory 
and  composition  under  Dr.  Gustav  Schilling. 
With  the  latter  he  remained  two  years.  In 
the  spring  of  1859  he  made  his  first  appear 
ance  as  a  pianist  at  a  concert  given  in  Dod- 
worth  Hall.  He  accompanied  his  father  on  a 
business  trip  to  Brazil,  in  i860,  where  he  re- 
mained two  years.  Returning  to  New  York 
he  resumed  his  position  as  first  violinist  in  the 
Stadt  Theatre  orchestra.  Soon  after  he  re- 
ceived a  call  to  Milwaukee,  Wis.,  as  leader  of 
the  orchestra  of  the  Stadt  Theatre  there. 
About  this  time  he  made  the  acquaintance  of 
Carl  Anschtitz,  with  whom  he  studied  theory 
and  composition  some  time.  In  the  autumn 
of  1864  he  succeeded  Mr.  Anschtitz  as  con 
ductor  of  the  German  opera,  having  previous- 
ly been  chorus-master.  With  the  company  he 
traveled  and  gave  performances  in  many  of 
the  principal  cities  of  the  country.  In  1867 
he  was  engaged  as  conductor  of  the  Stadt 
Theatre,  New  York,  a  post  which  he  held 
until  1871.  In  the  autumn  of  the  following 
year  he  opened  the  Germania  Theatre,  of 
which  he  was  the  founder,  and  with  which  he 
is  still  (Jan.,  1884)  connected.  During  1876 
he  conducted  a  series  of  symphony  concerts  at 
his  theatre.  He  was  one  of  the  American 
representatives  at  the  Wagner  festival,  Bay- 
reuth,  in  the  same  year,  acting  as  special  cor- 
respondent of  the  New  York  "Staats  Zeitung." 
Mr.  Neuendorff  takes  a  high  place  among 
New  York's  conductors,  and  is  frequently- 
called  upon  to  wield  the  baton  at  festivals  and 
concerts.  As  an  impresario  he  has  more  than 
once  visited  Europe  to  secure  artists,  and 
brought  over  among  others  Mme.  Lichtmay 
and  Theodore  Wachtel  ( 1 87 1  and  1874). 

Nielson-Rounsville,  Madame  Chris 

TINE,  was  born  Aug.  10,  1X45,  at  Christian- 
sand,  Norway.  She  studied  under  Haberbiei 
at  Leipsic,  and  in  1X7 1  came  to  the  United 
States,  locating  at  Chicago,  where  she  still 
resides    as   a    teacher  of  the  piano.      She  was 


IIWIHSOOK    OF    AMERICAN    MUSIC    AM)    MUSICIANS. 


married  to  Dr.  Rounsville  in  1875. 

Xlji'll t  ill  Rome,  A.  An  operetta  in 
two  acts.  Words  and  music  by  Julius  Eich- 
berg.  First  produced  at  the  Museum.  Boston, 
Saturday,  -Nov.  26,  1804. 

NortOTl»<TOWer»  Lilian,  who  is  also 
known  by  her  stage  name  of  Ml.i.K.  Noruna, 
is  an  American  lady  but  studied  in  Europe. 
She  marie  her  deVmt  at  the  Grand  Opera, 
Paris,  in  1882,  as  Marguerite  in  "Faust." 
Soon  after  she  was  engaged  by  Col.  Mapleson 
for  Her  Majesty's,  London,  and  under  his 
management  made  her  first  appearance  in  this 


countrj  at  the  Academy  of  Music,  New 
York,  in  November,  1883,  in  her  original 
rfile.  During  the  season  she  visited  the  prin- 
cipal cities,  and  will  undoubtedly  be  heard 
here  often.  As  Margvcrite  she  has  few 
superiors,  and  whenever  she  appears  in  that 
rdte  she  is  sure  of  a  flattering  reception. 

Notre  Dame  rte  Paris.    An  opera 

composed  by  W.  H.  Fry,  and  first  produced  at 
the  Academy  of  Music,  Philadelphia,  in 
April,  1804.  The  libretto  is  by  J.  R.  Fry, 
a  brother  of  the  composer. 


o. 


Oakley,  William  H.,  was  born  aboiil 
the  beginning  of  the  present  century  at  New 
York.     He  was  chorister  of  the  old  Mulberry 

Street  (now  St.  Paul's)  Methodist  Episcopal 
Church  in  1S40,  and  afterwards  at  other  Meth- 
odist churches  in  New  York.  With  the  "Alle- 
ghanians,"  of  which  he  was  one  of  the  found- 
ers, he  traveled  all  over  the  United  States,  and 
became  widely  known  as  one  of  the  most  promi- 
nent Methodist  singers  and  composers.  He 
died  at  New  Pork,  of  heart  disease,  Jan.  7, 
18S0. 

Oherlin  Conservatory  of  Music. 

This  well-known  school  of  music  was  estab- 
lished in  1865  by  John  P.  Morgan  and  G.  W. 
Sieele.  Mr.  Morgan,  who  was  an  alumnus  of 
the  Leipzig  Conservalorium  and  later  one  of 
(he  organists  of  Trinity  Church,  New  York,  I 
was  its  first  director.  A  large  proportion  of 
the  members  of  its  faculty  have  been  educated 
at  Leipzig,  and  naturally  the  school  is  modeled 
in  no  small  degree  after  that  institution.  Great 
care  is  taken  to  give  the  students  only  those 
compositions  for  study  which  may  properly  be 
regarded  as  models,  and  numerous  opportuni- 
ties are  offered  for  hearing  the  best  composi- 
tions of  both  classic  and  modern  writers.  The 
faculty  and  officers  of  government  now  number 
eighteen;  and  the  attendance  For  the  past  year 
was  446.  The  Conservatory  is  now  under  the 
able  direction  of  Prof.  F.  P>.  Rice. 

Octave  staff".  A  system  of  notation  con- 
sisting of  three  groups  of  lines  combined,  com- 
prising three  octaves  of  ordinary  vocal  music; 
dispensing  with  fiats  and  sharps;  and  giving 
to  each  note  its  own  position.  It  was  intro- 
duced by  a  Mr.  Adams  of  New  Jersey,  but 
never  came  into  use,  heing  of  little  practical 
value. 

Old  Folks  at  Homo,  The,  some 
times  called  "Suwanee  River"  from  its  mention 
of  the  river  by  that  name  in  Florida,  is  perhaps 
the  most  popular  of  all  Stephen  Foster's  songs. 
It  was  written,  both  words  and  music,  at  his 
old  home  in  Allegheny  City  in  the  summer  of 
iSqi  after  his  return  from  an  absence  of  nearly 


a  year,  which  fact  no  doubt  inspired  the  song. 
Any  one  having  an  early  copy  may  be  puzzled 
by  the  line  upon  the  title  page,  "Written  and 
composed  by  Edwin  P.  Christy."  Mr.  Christy 
will  be  remembered  as  the  manager  of  the 
celebrated  "Christy  Minstrels."  It  seems  that 
he  met  Foster  on  one  occasion  in  New  York, 
and  offered  him  a  certain  sum  for  the  song  in 
question,  provided  he  was  allowed  to  claim  the 
authorship  of  it.  Foster  cared  little  for  fame, 
and  the  pressing  necessities  of  poverty  must 
have  overruled  any  objections  on  his  part 
which  would  naturally  arise.  This  is  only 
one  of  the  numerous  cases  in  which  he  was 
taken  advantage  of  because  of  his  poverty,  but 
it  seems  the  most  atrocious  of  them  all.  The 
truth  at  last  became  known,  and  the  song  is 
now  published  with  the  name  of  its  true  com- 
poser. Foster  entertained  a  hope  that  "The 
Old  Folks  at  Home"  might  rival  in  popularity 
"Home,  Sweet  Home."  It  has  probably 
come  the  nearest  to  it  of  any  song  ever  writ- 
ten. The  sales  have  already  reached  over 
half  a  million  copies,  and  there  is  still  a  large 
and  steady  demand  for  it.  Unlike  many  songs, 
its  popularity  does  not  seem  to  be  of  the  trans- 
itory kind,  and  it  is  more  than  likely  that  it 
will  hold  its  place  in  song  literature  for  many 
years  to  come. 

Oliver,  Henuy  Kkmhi.k,  American 
psalmodist,  was  horn  Nov.  24,  1S00,  at  Bev- 
erly, Mass.  In  music  he  was  an  amateur  and 
mostly  self-taught.  He  edited  and  published 
in  conjunction  with  Dr.  Tuckerman,  in  184c;, 
the  "National  Lyre."  His  other  collections 
are  "Oliver's  Collection  of  Church  Music" 
(  i860)  and  "Oliver's  Original  Sacred  Music" 
(1875).  lie  is  well  known  by  his  tune  of 
"Federal  Street,"  written  in  1832,  and  still 
popular.  It  was  performed  under  his  own 
direction  at  the  Peace  Jubilee  of  1S72  by  a 
chorus  of  20,000,  the  immense  audience  join- 
ing. In  1S76  he  was  residing  at  Salem,  Mass. 
Oil  the  Prairies.  The  second  (Amer- 
ican) symphony,  op.  15,  of  Dr.  Louis  Maas. 
It  is  descriptive  of  a   day  on  the  prairies,  and 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


is  divided  into  four  parts,  as  follows: 
i. — "  Morning  on  the  Prairies,"  2. — "The 
Chase"  (scherzo)  presto,  3. — "An  Indian 
Legend,"  adagio-andante,  4. — "  Evening, 
Night  and  Sunrise."  The  idea  of  the  compo- 
sition was  first  suggested  to  Dr.  Maas  while 
he  was  crossing  the  boundless  prairies  of  the 
West.  Dedicated  to  Ex-President  Arthur. 
First  performed  at  the  Music  Hall,  Boston, 
Dec.  14,  1883,  with  an  orchestra  of  100 
musicians. 

Opera  in  America.    Anything  like  a 

complete  history  of  the  opera  in  this  country 
is  vet  to  be  wiitten.  It  has  existed  chiefly  in 
the  large  cities,  such  as  New  York,  Boston 
and  New  Orleans,  and  even  at  best  its  life  has 
been  one  of  many  vicissitudes.  It  seems, 
according  to  J.  N.  Ireland,  author  of  "Records 
of  the  New  York  Stage,"  that  some  of  the 
early  English  ballads  were  given  in  New  York 
more  than  a  century  ago.  "  The  Beggar's 
Opera"  was  produced  in  1751,  "Eove  in  a 
Village"  in  1768,  "Inkle  and  Yarico,"  "The 
Duenna,"  and  "The  Tempest"  in  1791,  "Guy 
Mannering"  by  Bishop  in  1816,  Davy's  "Rob 
Roy"  in  1818,  and  others  at  different  times. 
The  first  season  of  Italian  opera  began  in  New 
York,  at  the  Park  Theatre,  Nov.  26,  1S25, 
with  Rossini's  "Barber."  French  opera  was 
tirst  introduced  at  the  same  theatre,  July  13, 
1827,  by  "Cenerentola."  German  opera  was 
introduced  at  Niblo's  Garden,  Sept.  16,  1856, 
with  "Robert  der  Teufel,"  by  Meyerbeer. 
The  conductor  was  Carl  Bergmann.  The 
introduction  of  opera  boufte  dates  only  from 
Sept.  24,  1867.  when  "La  Grande  Duchesse" 
was  produced  at  the  French  Theatre,  and  had 
the  extraordinary  run  of  158  nights.  In  Bos- 
ton the  first  season  of  Italian  opera  began 
April  23,  1847,  at  ,ne  Howard  Athenaeum. 
Some  of  the  most  important  operas,  among 
them  "Aida,"  "Lohengrin,"  and  "Die  Wal- 
kiire,"  have  been  given  in  New  York  before 
presented  in  either  London  or  Paris.  New 
Orleans  is  the  only  city  that  has  supported  the 
opera  continuously  through  the  operatic  sea- 
son, but  since  the  Civil  War  it  has  been  of 
minor  importance  in  theatrical  affairs.  The 
most  noted  operatic  managers  whose  careers 
are  connected  with  this  country  are  Seguin, 
who  commenced  in  1838,  Max  Maretzek, 
whose  career  dates  from  1848,  Max  and  Mau- 
rice   Strakosch,    Carl   Rosa,   H.  L.  Bateman, 


C.  D.  Hess,  etc. 

America  has  not  yet  produced  anything  like 
a  distinct  operatic  school,  nor  is  she  likely  to 
for  some  time  to  come.  The  heterogeneous 
character  of  the  population  and  the  newness  of 
the  country  forbid.  There  have  been,  how- 
ever, several  American  operas  produced  which 
may  lay  claim  to  the  name  and  with  success. 
The  principal  of  them  are  noticed  under  their 
respective  headings,  but  it  may  be  well  to 
state  some  facts  concerning  them  here.  "The 
Archers;  or,  The  Mountaineers  of  Switzer- 
land," is  probably  the  first  American  opera. 
The  music  is  by  Benj.  Carr,  an  Englishman, 
who  came  to  this  country  in  1794;  the  libretto 
by  William  Dunlop,  and  founded  on  the 
story  of  William  Tell.  It  was  produced  in 
New  York,  April  18,  1796.  Another  Ameri- 
can opera  is  "Edwin  and  Angelina,"  produced 
in  New  York,  Dec.  19,  1798.  The  libretto, 
founded  on  Goldsmith's  poem,  is  by  Dr.  E. 
!  H.  Smith,  and  the  music  by  M.  Pellesier,  a 
Frenchman  who  resided  in  New  York. 
"Rip  Van  Winkle,"  by  George  F.  Bristow, 
produced  at  Niblo's  Garden,  New  York,  Sep. 
27,  1855;  "Leonora,"  by  W\  H.  Fry,  pro- 
duced at  the  Academy  of  Music,  New  York, 
March  29,  1858;  and  "Notre  Dame  de  Paris," 
by  the  same  composer,  produced  at  the  Acad- 
emy of  Music,  Philadelphia,  in  April,  1864, 
are  three  later  and  quite  successful  works. 
"The  Doctor  of  Alcantara,"  by  Julius  Eich- 
berg,  produced  at  the  Boston  Museum,  April 
7,  1862,  is  the  most  popular  American  opera 
j  ever  written.  Mr.  Eichberg  has  written  three 
I  other  operas,  viz  :  "The  Rose  of  Tyrol," 
j  "A  Night  in  Rome,"  and  "The  Two  Cadis," 
which  have  achieved  considerable  popularity. 
The  number  of  American  operas  of  which 
notice  has  been  taken  by  no  means  indicates 
the  number  that  has  been  written,  which  is 
very  large,  but  the  most  of  them  have  been 
of  light,  trashy  character,  modelled  after  the 
French  opera  boufte,  and  have  sunk  into  ob- 
|  livion  almost  as  soon  as  born.  Attempts  have 
j  been  made  by  American  composers  at  the 
grand  opera,  but  thus  far  seemingly  without 
any  success.  One  of  the  latest  productions 
in  this  line  is  "Zenobia,"  composed  by  Silas 
G.  Pratt.  It  was  produced  at  Chicago,  though 
without  the  proper  stage  scenery,  costumes, 
etc.,  in  June  of  the  present  year  (1882),  but 
rather  coldly  received.     That  some  American 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


composer  will  yet  write  a  grand  opera  which 
will  he  a  success,  can  not  he  doubted,  but  as 
to  whom  that  person  will  be  remains  to  be 
seen. 

Organ,  History  of  in  America. 

The  first  American  organ  was  built  by  Edward 
Bromfield,  Jr.,  at  Boston  in  1745.  In  I75'2, 
Thomas  Johnston  built  an  organ  for  Christ 
Church,  Boston.  Pact  of  an  instrument  built 
by  this  maker  for  the  Episcopal  church  at 
Salem,  Mass.,  is  still  in  the  possession  of  Messrs. 
Hook  &  Hastings.  In  front  there  is  inscribed 
in  German  text,  in  ivory,  the  following  words: 
"Thomas  Johnston  fecit,  Boston,  Nov.  Anglo- 
rum,  1754."  It  was  a  small  aff.iir,  having  only 
one  manual  and  six  stops.  Mr.  Johnston  died 
about  1768,  and  was  succeeded  by  a  Dr. 
Leavitt,  who  engaged  in  the  business  for  a 
number  of  years.  Henry  Pratt,  of  Winches- 
ter, N.  H.,  who  died  in  184c,  manufactured 
about  fifty  organs  during  the  early  part  of  the 
century.  Meanwhile,  notwithstanding  their 
great  cost,  several  foreign  organs  were  im- 
ported, chiefly  for  use  in  Boston.  The  first 
foreign  organ  erected  in  this  country  was  the 
one  in  the  Queen's  chapel,  Boston,  put  up  in 
August,  171^,  and  presented  by  Thos.  Brattle, 
Esq. 

The  first  American  organ  builder  who  be- 
came noted  as  such  was  William  M.  Good- 
rich. Mr.  Goodrich  was  born  in  1777,  and 
went  to  Boston  about  17(9.  In  1S05  he  com- 
menced the  business  of  organ  building,  his 
first  organ  being  one  erected  in  the  Catholic 
church  of  Bishop  Chevereux,  in  Boston. 
Shortly  after  he  was  engaged  to  clean  and 
repair  several  imported  organs,  from  which  he 
received  great  advantage,  being  a  self  taught 
artist.  So  successful  was  he  that,  though 
there  was  a  strong  prejudice  against  Ameri- 
can organs,  few  were  imported  from  abroad. 
He  continued  in  business  until  1833.  Ebenezer 
Goodrich,  brother  of  William,  after  learning 
the  trade  in  his  manufactory  set  up  in  business 
for  himself,  and  manufactured  a  number  of 
organs,  mostly  small  ones.  In  1807,  Thomas 
Applelon  entered  the  employment  of  William 
Goodrich,  and  after  remaining  there  some 
years  entered  into  co-partnership  with  a  Mr. 
Babcock  and  two  geiUlemen  by  the  name  of 
Hayts,  under  the  firm  name  of  Hayts,  Babcock 
&  Applelon,  and  commenced  the  manufacture 
of   pianos    c.\k\    organs.      Mr.    Goodrich    wns 


afterwards  induced  to  join  the  firm.  It  was, 
however,  dissolved  in  1820,  Mr.  Appleton 
continuing  business  on  his  own  account. 

Thus  far  the  art  of  organ  building,  though 
creditable  to  so  young  a  country,  had  remained 
in  a  rather  crude  state.  In  1827  the  manufac- 
ture cf  organs  was  begun  in  Boston  by  Elias 
and  Geo.  G.  Hook,  the  oldest  of  the  brothers 
having  learned  his  trade  of  Wm.  Goodrich,  to 
whom  he  was  apprenticed  when  only  sixteen 
years  old.  The  Messrs.  Hook  (afterwards 
Hook  &  Hastincs,  which  see),  labored  hard 
to  produce  only  good  instruments,  and  with 
them  it  may  be  said  commenced  a  new  era  in 
the  history  of  American  organ  building. 
They  soon  took  a  first  position  among  the 
makers  of  this  country,  which  they  still  hold. 
Under  their  care  home-made  instruments 
became  equal  to  those  imported  from  abroad, 
and  at  the  prese'nt  the  art  of  organ  building  in 
America  is  at  fully  as  high  a  standard  as  in 
any  foreign  country. 

Organ,  reed.  According  to  some  wri- 
ters, free  reeds,  that  is  reeds  fastened  at  one 
end  and  left  free  to  vibrate  at  the  other  and 
set  in  motion  by  currents  of  air,  are  an  Ameri- 
can invention.  As  to  this,  however,  there 
are  very  grave  doubts,  though  in  1818,  Aaron 
M.  Peaseley  invented  an  instrument  in  which 
these  reeds  were  used.  The  patent  is  signed 
by  James  Monroe,  President,  and  John  Quincy 
Adams,  Secretary  of  State,  of  the  United 
States,  and  is  in  the  possession  of  the  Mason 
&  Hamlin  Organ  and  Piano  Co.  The  instru- 
ment seems  not  to  have  amounted  to  much, 
and  was  probably  quite  imperfect.  There  is 
one  fact,  however,  about  which  there  can  be 
no  doubt.  It  is  that  the  free  reed  was  not 
invented  until  several  years  after  the  beginning 
of  the  present  century.  By  whom  and  just 
when  is  a  matter  of  perplexity  and  will  prob- 
ably remain  so,  but  it  would  appear  from  what 
light  we  have  that  the  idea  had  an  almost 
simultaneous  birth  and  working  out  in  several 
different  countries.  Thus  it  will  be  seen  that 
all  instruments  constructed  with  free  reeds, 
such  as  the  accordeon,  seraphine,  harmonium, 
etc.,  are  the  product  of  the  present  century. 

In  this  country  the  melodeon  was  the  direct 
precursor  of  the  reed  organ.  It  enjoyed  con- 
siderable but  brief  popularity,.  It  was  first 
introduced  about  the  year  1840.  In  1845  or 
1846,    two    well-known   firms  commenced    its 


[24 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


manufacture,  viz  :  Carhart  &  Needham  airl 
George    A.    Prince   &    Cm.,    both  of    Buffalo, 

N.  Y.  Thelalter  linn,  which  ceased  to  exist 
only  a  few  years  ago,  manufactured  the  l>est 
instruments,  many  well-preserved  specimens 

of  Which  are  still  in  he  met  with.  The  melo- 
tleon  ha<!  far  fewer  resources  and  capabilities 

than  the  reed  organ,  and  was  in  every  way  an 
inferior  instrument  (See  Mei.ojieon).  An 
instrument  closely  resembling  the  reed  organ, 
and  which  might  be  called  its  first  cousin,  is 
the  harmonium.  It  differs  from  the  reed 
organ,  however,  internally  in  several  impor- 
tant respects,  one  of  which  is  the  fact  that  the 
sound  is  produced  by  forcing  the  wind  out 
through  the  reeds  instead  of  drawing  it  in,  as 
is  the  case  with  the  latter  instrument. 

In  the  year  1847,  Emmons  Hamlin,  then  a 
workman  in  the  factory  of  Prince  &  Co.,  of 
Buffalo,  but  now  one  of  the  firm  of  Mason  & 
Hamlin  Organ  and  Piano  Co.,  discovered 
that  by  twisting  and  bending  the  tongues  of 
reeds  in  a  certain  manner  a  vast  improvement 
in  tone  resulted.  Previously  the  tongue  had 
been  left  flat  and  straight,  and  produced  a  thin, 
sharp  tone.  The  method  of  bending  the 
tongues  gave  a  much  more  mellow  tone  to  the 
reed,  and  to  it  is  probably  due  the  popularity 
of  the  melodeon,  and  afterwards  of  the  reed 
organ.  About  1861,  the  first  reed  organ  was 
introduced  by  Messrs.  Mason  Cv  Hamlin.  It 
was  a  great  advance  upon  the  melodeon.  The 
present  form  of  case  was  adopted,  several  sets 
of  reeds  and  stops  employed,  and  a  number  of 
other  improvements  made.  It  almost  immedi- 
ately l>ecame  popular,  and  soon  displaced  the 
melodeon.  Improvements  have  since  been 
made,  not  only  by  Mason  &  Hamlin,  but  by 
other  makers,  and  has  resulted  in  a  truly  musi- 
cal instrument,  which  is  probably  more  large- 
ly used  in  this  country  than  any  other  one 
instalment,  and  enjoys  considerable  popularity 
in  England  and  other  foreign  countries.  It  is 
sometimes  manufactured  with  not  only  one, 
but  two  and  even  three  manuals  and  one 
pedal,  and  having  in  all  from  twenty  to  thirty 
stops.  Ill  power  and  resource  it  can  then 
almost  rival  the  smaller  pipe  organs.  Some 
fine  specimens  are  made  by  the  Mason  iV 
Hamlin  Organ  and  Piano  Co.,  by  whom  the 
instrument  was  originally  produced. 

OSgOOd,  GEORGE  L.,  was  born  April  3, 
1844,    and    began    the    practice  of  music  al    an  | 


early  age.  lie  commenced  the  study  of  the 
organ  and  harmony  under  John  K.  Paine,  with 
whom  he  remained  until  he  entered  Harvard 
College  in  1862.  Upon  graduating  in  r866he 
went  to  Ocrmanv  and  studied  composition  un- 
der Haupt  and  singing  under  Sieber  at  Berlin. 
During  this  lime  he  became  intimately  ac- 
quainted with  the  celebrated  song  writer, 
Robert  Franz,  which  no  doubt  influenced  him 
to  more  closely  study  German  lieder.  Many 
of  Franz's  letters  and  manuscripts  are  now  in 
his  possession.  From  Germany  he  went  to 
Milan  and  placed  himself  under  Lam- 
perti,  of  whom  he  gained  a  thorough  knowl- 
edge of  the  Italian  vocal  methods.  At  the 
expiration  of  three  years  he  returned  to  Ger- 
many and  gave  some  concerts  with  good  suc- 
cess. On  his  return  to  this  country  he  was 
engaged  by  Theodore  Thomas,  with  whose 
orchestra  he  visited  the  principal  cities.  He 
then  settled  in  Boston,  as  a  teacher  of  sing- 
ing, composer,  and  conductor,  where  he  is 
now  (Jan.,  1886)  located.  His  compositions 
are  mostly  songs,  which  are  not  only  of  a 
high  order  but  command  a  ready  sale.  As  a 
teacher  and  conductor  he  is  well  known  and 
is  doing  excellent  service  to  the  cause  of 
music. 

Osgood,  Mrs.  Emma  Aline,  well-known 
both  in  the  United  States  and  England  as  an 
excellent  oratorio  singer,  is  a  native  of  Bos- 
ton (we  have  been  unable  to  ascertain  her  ear- 
ly history)  and  made  her  debut  at  a  concert  of 
the  Quintet  Club  in  1S73.  She  was  well  re- 
ceived and  offered  an  engagement  by  that 
organization,  with  which  she  made  a  conce't 
tour  in  Canada  and  the  Stales.  In  1S75  she 
went  to  London  and  studied  for  some  time 
under  Sig.  Alberto  Randegger.  Her  first  ap- 
pearance in  England  was  at  Crystal  Palace, 
in  October  of  the  same  year.  During  1870 
she  sang  in  Manchester,  Liverpool,  Birming- 
ham, and  other  English  cities.  She  scored  a 
decided  success,  and  won  manv  praises  as 
prima  donna  in  Liszt's  oratorio  of  "St.  Eliz- 
abeth" during  a  performance  in  London. 
The  whole  of  1877  was  spent  in  fulfilling  en- 
gagements at  the  Brighton,  Leeds,  and  other 
festivals,  and  at  numerous  concerts.  In 
March,  1878,  she  came  to  this  country  and 
sang  at  the  Cincinnati  May  Festival  and  at 
Thomas'  concerts  in  New  York.  Returning 
to    England    in    the  autumn  she  continued  her 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


125 


engagements   (here,    singing   at    Metzler  and  I  a  soprano  of  grea'  sweetness  and  sonority,  per- 

Chappell's  conceits,  London;  Charles  Halle's  I  feet  throughout  its  range,  and  especially  adapt  - 

grand   concert,    Manchester;    Bach   choir  con-    ed  to  the  singing   of  oratorios.      In    rendering 

certs,  St.  James'    Hall,  London;    in   Sullivan's  1  some  of  the    popular    ballads    she   has   rarely 

oratorio,    "  Light    of    the    World,"     at    Liv-    been  equaled. 

erpool;   etc.      In    1880  she  paid    her   second,         Ostilielli,     Ei.iza.      See    BlSCACCIANTI, 

and       in      18S1       her      third     visit     to     her    MME. 

native     country.      At    the     New     York,    Cin-         Ostroleilka.      An  opera  by  Jean   Henri 

cinnr.ti,     and     Chicago     May     Festivals     of    Bonawitz — his  second — written  between    1870 

1SS2  she  was  one  of  the  soloists,  and  came  in  ;  and  1875.      ll  ^as  n°t  yet  heen  produced  in  a 

for  a  large  share  of  the  honors.      Her  voice  is     complete  form. 


p. 


I'ttillarrt,  KL  *f.  &  Co.,  Npw  York 

City.  The  firm  of  Paillard  cV-  Co.  is  the  old- 
est now  existing  "which  manufactures  musical 
boxes.  It  was  founded  at  Ste.  Croix,  Switzer- 
land, in  1814,  by  the  great-grandfather  of  the 
present  members  of  the  New  York  house.  In 
1840,  of  four  brothers  of  the  third  generation, 
the  two  elder  remained  in  Ste.  Croix  in  charge 
of  the  factory  (then  a  comparatively  small  con- 
cern), while  the  two  younger  came  to  New 
York  and  established  themselves  in  business 
:it  No.  So  Nassau  street  in  1850.  One  of  the 
latter  died  soon  after,  ami  the  surviving  broth- 
er, M.  ).  Paillard,  continued  alone  for 
awhile.  He  then  took  a  partner,  when  the 
firm  name  became  Paillard  &  Martin, 
which  it  remained  until  1861,  Mr.  Martin 
withdrawing  at  th:  t  time.  M.  J.  Paillard 
again  continued  alone  until  1865,  when  he  re- 
ined from  any  active  part  in  the  business  on 
accounl  ofhis  health.  He  returned  to  Switzer- 
land, where  he  died  in  December,  1868.  Pre- 
vious to  his  departure  in  1865,  he  took  into 
partnership  his  nephew,  A.  E.  Paillard,  son 
of  the  senior  member  of  the  Ste.  Croix  house, 
and  the  firm  name  was  changed  to  M.  J.  Pail- 
lard &  Co.,  which  is  still  retained.  The  pres- 
ent members  are  A.  E.  Paillard  and  Geo.  A. 
Paillard,  son  of  the  late  M.J.  Paillard. 

When  Messrs.  Paillard  &  Co.  first  began 
business  the  facilities  for  manufacturing  were 
very  crude  and  everything  was  made  by  hand, 
the  work  often  being  wrought  by  the  workmen 
at  their  homes.  Since  that  time  much  valuable 
machinery  has  been  invented,  but  each  instru- 
ment still  requires  a  considerable  amount  of 
skilled  manual  labor  of  the  highest  order. 
The  firm  employs  800  workmen  in  the  factory 
at  Ste.  Croix,  the  machinery  of  which  is  run 
by  steam.  Every  part  of  the  instruments,  from 
the  rough  castings  up,  is  made  in  the  building, 
which  is  done  by  no  other  firm,  and  which 
results  in  better  and  more  uniform  work. 
With  Messrs.  Paillard  &  Co.  have  originated 
nearly  all  the  improvements  in  music  boxes, 
most  of   them  being  due  to  the  inventive  gen- 


ius of  the  late  Amedee  Paillard  of  the  Ste. Croix 
j  house.  A  stock  ranging  in  value  from  ?ioo,- 
.  000  to  #.150,000  is  constantly  on  hand  at  the 
j  New  York  house.  There  is  a  branch  house  in 
j  London  under  the  firm  name  of  A.  Paillard 
&  Co.  The  name  of  Paillard  &  Co.  has  a 
j  world-wide  reputation  and  is  inseparably  con- 
nected with  the  history  of  music  boxes. 

Pailie,  John  Knowi.es,  one  of  America's 
leading  composers,  was  born  Jan,  9,  183c, 
at  Portland,  Maine.  His  parents  were  musi- 
cally inclined  and  encouraged  his  talents, 
which  were  manifest  at  an  early  age.  His 
first  teacher  in  piano  and  organ  playing  and 
composition  was  Hermann  Kotzschmar,  a 
musician  of  considerable  ability  residing  in  his 
native  city.  He  appeared  for  the  first  time  in 
public,  June  25,  1857,  as  an  organist,  being 
then  eighteen  years  old,  and  played  a  prelude 
and  fugue  by  Bach  with  great  success.  Soon 
after  he  became  organist  of  the  Haydn  Society 
of  Portland,  and  played  the  accompaniments 
to  the  "Messiah"  without  anv  assistance  from 
an  orchestra.  Feeling  the  need  of  better 
musical  instruction  than  was  then  afforded  by 
this  country,  he  in  185S  proceeded  to  Germany. 
Locating  at  Berlin  he  studied  the  organ,  com- 
position, instrumentation,  and  singing,  under 
Haupl,  Wiepreeht,  and  Teschner,  making 
very  rapid  progress.  While  there  he  also 
gave  several  organ  recitals.  In  1861  he  re- 
turned to  the  United  States,  and  for  some  time 
was  engaged  in  giving  concerts,  performing 
the  principal  organ  compositions  of  Bach, 
Thiele  and  other  composers,  many  of  which 
had  never  been  heard  in  this  country  before. 
The  proceeds  of  some  of  these  concerts 
were  given  to  aid  the  Union  Sanitary  Com- 
mission. In  the  following  year  (1862)  he  was 
appointed  professor  of  music  at  Harvard  Uni- 
versity, and  in  this  position  he  has  exercised  a 
great  and  permanent  influence  in  advancing 
the  art.  He  spent  the  winter  of  1866-67  in 
visiting  Germany,  and  his  mass  was  performed 
under  his  own  direction  at  the  Singakademie, 
Berlin,    in    February,     1867.      Work    on     his 


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127 


great  esl  pro  1  action,  ilic  oratorio  of  "St. Peter," 
w:is  begun  in  I069.  The  first  performance 
took  place  at  Portland,  June  3,  1873,  under 
the  direction  of  the  composer.  Il  was  per- 
formed by  the  Handel  and  Haydn  Society  of 
Boston,  May  9,  1X74,  and  was  afterwards 
added  to  the  regular  repertoire.  His  first  sym- 
phony was  performed  by  Thomas'  orchestra  at 
Boston,  Jan.  6,  1S76.  The  same  year  he  was 
made  a  professor  of  music  in  full  at  Harvard 
University,  being  the  first  occupant  of  the 
chair.  This  position  he  still  (May,  1886)  re- 
tains. His  "Centennial  Hymn"  was  written 
for  the  opening  of  the  Exhibition  at  Philadel-  j 
]  hia,  in  May,  1876.  The  music  is  of  high  1 
order,  but  adverse  criticisms  have  been  passed  J 
upon  the  words  ( by  Whittier)  on  account  ofi 
their  being  ill  adapted  for  musical  purposes,  j 
All  of  his  orchestral  works  have  been  per- 
formed in  Boston,  New  York  and  other  cities  j 
of  this  country.  Many  <>f  his  smaller  works 
may  frequently  be  found  oil  the  concert  pro-  I 
grams  of  various  artists.  His  later  works  be-  \ 
gin  with  the  trio  in  D  minor,  op.  22,  and  show  j 
a  tendency  toward  the  modern  romatic  school,  I 
both  in  form  and  treatment.  The  following  is  j 
a  list  of  his  published  works  : 

Op.  3.  Variations  for  the  Organ — "Austrian  j 
Hymn"  and  "Star Spangled  Banner."  j 

"     7.   "Christmas  Oift."      Piano. 

"    9.   Funeral  March.     Piano. 

"  10.  Mass,  in  1>  major.  Solos,  chorus  and 
orchestra. 

"II.    Vier  Character-Stiicke.      Piano. 

"  12.    Ki "inance,  C  minor.      Piano. 

"  10.   Two  preludes.      Organ. 

"  10.    "St.  Peter,"  oratorio. 

"  25.    Four  characteristic  pieces.      Piano. 

"  _o.  "In  the  Country."  Ten  sketches  for  I 
the  piano. 

"  27.    Centennial  Hymn.  Words  by  Whittier.  i 

"  2c.   Four  songs  for  the  soprano  voice- 

The  unpublished  works  consist  of  sonatas  \ 
for  the  piano,  and  for  the  piano  and  violin  ;  | 
fantasias,  variations,  and  other  pieces,  for  the 
organ;  a  string quartet ;  two  piano  trios  ;  an 
overture  on  "As  You  Like  It  ;"  a  svinphonie-  j 
fantasia  on  "The  Tempest;"  a  symphony  in  C  j 
minor  (op.  23)  and  one  in  A  (  op.  34),  entitled  j 
"Spring;"  a  duo  concertante  for  violin,  vio-  | 
loncello,  and  orchestra;  songs;  motets;  and  1 
nearlv    every    kind    of  vocal  and  instrumental  I 


Palmer*  Dr.  Horatio  Un- 
well known  as  a  composer  of 


tMONI),    who 
ocal    music, 


was  born  April  26,  1834,  at  Sherburne,  N.  V. 
His  father,  Anson  B.  Palmer,  was  a  musician 
of  more  than  ordinary  talent,  and  possessed  a 
very  sensitive  organization — so  sensitive,  in- 
deed, that  he  could  scarcely  bear  the  least  dis- 
cord. His  mother  had  a  fine  voice  and  was 
noted  for  her  self-possession.  These  qual- 
ities of  his  parents  he  seems  to  have  in  a 
large  measure  inherited,  making  him  unusual!} 
successful  as  a  leader  and  conductor.  His 
father  died  in  1868,  at  Norfolk,  Va.,  whither 
he  had  removed  after  marrying  a  second  time. 
When  nine  years  old  he  began  to  sing  alto  in 
his  father's  choir,  and  when  seventeen  became 
organist  and  choir-master.  Teaching,  in 
which  he  has  been  so  eminently  successful,  he 
took  up  when  fifteen.  One  of  his  character- 
istics was  the  determination  to  accomplish 
whatever  he  undertook.  His  musical  educa- 
tion has  mostly  been  acquired  by  hard,  unre- 
mitting study  without  the  aid  of  a  teacher. 
One  of  the  earliest  positions  which  he  filled 
was  that  of  professor  of  music  in  the  RusnYord 
Academy,  Rushford,  Allegany  County,  N.  Y. 
In  1S61  he  removed  to  Chicago,  where,  in 
1866,  he  commenced  editing  and  plffjffsn'ing 
"The  Concordia,"  a  musical  monthly.  The 
following  year  he  published  his  first  collection 
of  music,  "The  Song  Queen,"  which  reached 
the  enormous  sale  of  200,000  copies.  Of 
"The  Storm  King,"  published  in  1871,  an 
equal  number  of  copies  has  been  sold.  His 
"Theory  of  Music"  (1876)  clearly  and  con- 
cisely presents  the  elements  of  thorough-bass, 
harmony,  composition,  and  form,  an  1  is  an 
invaluable  work  for  the  beginner. 

During  six  of  the  fifteen  years  of  Mr.  Palm- 
er's residence  in  Chicago  he  was  chorister  of 
the  second  Baptist  Church.  His  reputation 
was  already  well  established  and  rapidly  grow  - 
ing.  Nearly  every  moment  of  his  time  was 
consumed  by  various  duties,  and  even  the 
Sabbath  could  hardly  be  called  a  day  of  rest. 
Frequently  he  was  obliged  to  bribe  hackmen 
by  an  extra  fee  to  drive  at  the  highest  legal 
rate  of  speed.  Sometimes  his  engagement  for 
one  week  would  be  nearly  fifteen  ..hundred 
miles  from  where  it  was  the  previous  weel. 
While  traVeling  from  one  place  to  another  his 
pockets  were  generally  tilled  with  musical 
proofs,  which  must  be  "read  and  returned  by 
the  first  mail."  The  amount  of  work  which 
he  went  through  with  could   hardly  have  been 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


accomplished  by  a  less  systematic  and  ener- 
getic man.  His  duties  still  keep  him  busy, 
and  be  has  little  time  for  pleasure,  except  such 
as  is  found  in  labor.  During  the  last  fifteen 
years  be  has  visited  nearly  every  state  in  the 
Union  as  conductor  of  musical  conventions. 
At  his  musical  institutes,  held  every  summer, 
many  excellent  teachers  have  been  educated. 
In  1874  he  removed  from  Chicago  to  New 
York, where  he  still  (May,  1886)  resides.  He 
lias  charge  of  the  Church  Choral  Union,  re- 
cently organized  in  that  city.  The  first  season 
was  begun  in  March,  1881,  with  250  singers. 
At  the  commencement  of  the  second  season 
(1882)  the  number  had  increased  to  1606,  and 
at  the  commencement  of  the  third  season(  1883) 
to  4200.  Its  object  is  to  elevate  the  standard 
of  music  in  the  churches.  Part  of  the  years  1877 
and  1878  and  of  1881  and  1S82  he  spent  in  vis- 
iting interesting  portions  of  the  Old  World.  The 
degree  of  Doctor  of  Music  was  conferred  on 
him  by  the  Alfred  University,  Alfred  Center, 
N.  Y.,  in  June,  1S81.  Dr.  Palmer's  music  is 
distinguished  for  its  purity,  grace,  and  melodi- 
ousness, and  is  deservedly  popular.  The  fol- 
lowing is  a  complete  list  of  his  works,  and  they 
include  all  of  bis  compositions  except,  per- 
haps, some  few  minor  ones  : 

1.  The    Song    Queen  (1S67).      The  sales  of 

this  book   amounted  to  upwards  of  200,- 
000  copies. 

2.  Elements  of  Musical  Composition  (1867). 

3.  Rudimental  Class  Teaching  (1867). 

4.  Sabbath  School  Songs  (1868). 

5.  The  Song  Queen,  revised  (1868). 

().     The  Normal  Collection  of  Anthems(  1870) 

7.  The   Song  King(i87i).     Sales  upwards 

of  200,000  copies. 

8.  The  Standard,  with  L.O.Emerson  (1872). 

9.  Concert   Choruses,    consisting   mainly  of 

selections   from  the  works  of  the  great 

masters  (1873). 
10.      Songs  of  Love  for  the  Bible  School  ( 1S74) 
1  1 .     The   Leader,   assisted  by  L.  O.  Emerson 

(1874). 

12.  The    Song    Monarch,    assisted   by  L.  O. 

Emerson  (1874). 

13.  The  Song  Herald  (1876). 

14.  Theory  of  Music  (1876).     121110.,    168  pp. 

15.  Book  of  Anthems  (1879). 
if).      The  Sovereign  (1879). 

17.  Rays  of  Light,  for  Sunday  schools  (1882). 

18.  Concert  Gems  for  Choruses  (1883). 

19:      Book    of   Threnodies,    for  funeral   occa- 
sions (1883). 
Pape;  William,  Barnksmork,  was  born 
Feb.  27,  1840,  (1850?)  at  Mobile,  Ala.      He  is 
chiefly  known  as  a  brilliant  pianist  and  the  au- 


thor of  many  showy  transcriptions  and  arrange- 
ments of  popular  airs,  which  exhibit  no  special 
ability.      Of  bis  life  we  have  no  particulars. 

Parker,  James  C.  D.,  well  known  as  a 
pianist,  organist,  and  composer,  was  born  at 
Boston,  June  2,  1828.  He  graduated  at  Har- 
vard College  and  prepared  himself  for  the 
profession  of  law,  but  his  intense  love  of  music 
conquered  everything  else.  After  studying 
awhile  in  bis  native  city  he  proceeded  to 
Leipsic,  where  he  placed  himself  under  the 
best  masters,  making  rapid  progress  and  at- 
taining great  proficiency  as  a  composer  and  as 
a  performer.  He  returned  to  Boston  in 
1854,  and  soon  took  a  leading  position  in  her 
musical  affairs.  In  1862  he  organized  an  as- 
sociation of  amateur  vocalists  called  the 
"Parker  Club,"  which  gave,  with  piano  ac- 
companiment, such  works  as  Gade's  "Coma- 
la,"  Mendelssohn's  "  Walpurgis  Night," 
Berlioz's  "Flight  into  Egypt,"  Schumann's 
"Paradise  and  the  Peri,"  and  "Pilgrimage  of 
the  Rose,"  etc.  Quietly  but  surely  he  has  for 
many  years  been  engaged  in  elevating  the 
standard  of  musical  taste.  He  is  at  present 
(1886)  organist  of  Trinity  Church,  and  most 
highly  esteemed  as  a  teacher  of  the  organ, 
piano,  ami  harmony.  He  has  also  held  the 
post  of  organist  to  the  Handel  and  Haydn 
Society,  and  is  now  professor  of  the  College  of 
Music  connected  with  the  Boston  University. 
His  "  Redemption  Hymn"  (words  from  the 
51st  chapter  of  Isaiah),  composed  in  1877, 
for  solo  contralto  and  chorus,  with  accompani- 
ment, was  first  given  by  the  Handel  and  Haydn 
Society  and  has  since  been  given  by  various 
musical  societies  all  over  the  country.  The 
"Manual  of  Harmony"  (121110.  150  pp.)  is  a 
good  work  for  beginners.  Mr.  Parker's  other 
works  consist  of  various  sacred  pieces,  part 
songs,   etc.,   all  of  more  than  ordinary  merit. 

Par.SOHS,  ALBERT  Ross,  was  born  at  San- 
dusky, Ohio,  Sep.  16,  1847.  His  American 
teachers  were  R.  Denton,  Buffalo,  N.Y.,  1854- 
-56,  and  Dr.  F.  L.  Ritter,  New  York,  1S63- 
-66.  He  then  went  to  Leipzig,  where  he 
studied  at  the  Conservatorium  from  1867  to 
1869,  under  Moscheles,  Reinecke,  Papperit/, 
Wenzel,  Oscar  Paul,  E.  F.  Richter  anil  Fer- 
dinand David.  In  1870  he  was  studying  at 
the  Pianists' High  School,  Berlin,  having  Tau- 
sig,  Ehlert  and  Weitzmann  as  teachers,  and  in 
1871     at  the  New  Academy  of  Music,   under 


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129 


KiUlak.  He  received  much  stimulous  and 
inspiration  from  close  personal  contact  with 
Wagner,  Liszt,  Rubinstein  and  von  Biilow. 
Since  1872  he  has  been  located  at  New  York 
City  as  organist,  teacher,  composer  and  writer. 
He  is  the  translator  of  Wagner's  "Beethoven" 
and  the  editor  of  the  American  edition  of  Kul- 
lak's  edition  of  Chopin.  He  has  lectured  on 
musical  topics  in  various  cities  and  written 
many  articles  for  the  musical  press.  His  com- 
positions consist  of  songs,  vocal  quartets,  etc., 
all  well  wrilten.  Besides  these  he  has  edited 
and  fingered  many  piano  pieces  for  instructive 
purposes.  He  is  highly  esteemed  and  very 
successful  as  a  teacher,  and  is  an  active  worker 
in  the  Music  Teachers'  National  Association. 
Pattisoil,  John  Neuon,  pianist  and 
composer,  was  born  at  Niagara  Falls,  N.  Y., 
Oct.  22,  1843.  His  talents  for  music,  which 
were  early  manifested,  were  little  encouraged 
by  his  parents,  who  considered  them  a  sign  of 
laziness.  He  was  sent  to  school  at  Lockport, 
but  managed  by  hoarding  up  his  spare  money 
to  take  a  term  of  music  lessons  and  during  that 
time  he  made  extraordinary  progress.  It  was 
at  first  intended  that  he  should  be  a  merchant*, 
but  this  was  changed  for  the  profession  of 
medicine,  and  he  went  to  Buffalo  to  study. 
So  intense,  however,  was  his  love  for  music, 
that,  sorely  against  the  wishes  of  his  parents, 
he  abandoned  everything  else  and  joined  a 
concert  company.  At  this  time  he  was  about 
fifteen  years  of  age.  The  manager  of  the 
companv  decamped,  which  left  the  young  man 
penniless.  He  started  for  New  York,  giving 
concerts  to  support  himself.  While  there  he 
heard  the  celebrated  pianist,  Thalberg,  on 
whom  he  called  and  frankly  stated  his  desires. 
That  musician  encouraged  him  to  persevere 
and  go  to  Europe.  He  at  once  made  prepar- 
ations for  the  trip,  and  to  raise  the  necessary 
funds  insured  his  life  for  a  certain  sum,  which 
he  succeeded  in  persuading  a  friend  to  accept 
as  security  for  a  loan  of  money.  Berlin  was 
the  city  toward  which  he  bent  his  steps, 
though  he  had  not  at  that  time  the  slightest  ac- 
quaintance with  the  German  language  nor  any 
influential  recommendations.  His  energy  and 
pluck  carried  him  through,  and  he  remained 
in  Germany  two  years,  studying  with 
Hauptmann,  Reinecke,  Stern,  Marx,  and  von 
Billow.  He  played  in  Berlin  with  more  than 
ordinarv  success.      In  1861  he   returned  to  the 


United  States,  but  in  the  following  year   again 
went  to  Germany,  and  studied    for    some  time 
under    Henselt,  frequently  appearing  in  con- 
j  certs.     After  this  he  accompanied  Thalberg  to 
I  Italy.     Returning  to  Paris  he  played  at    the 
i  J'leyel    concerts.     Since    his  second  return   to 
I  this  country  he  has  repeatedly  played    in    con 
j  certs,  and  accompanied  Parepa-Rosa,  Kellogg, 
:  Ole  Bull,  Albani,  Lucca,  and  others,  on    then- 
tours  of  the    States.     During    1874   he    gave  a 
I  series  ot    several  lectures  on  music,  illustrated 
i  by  piano  recitals,  at  New  York.      His    recitals 
will  doubtless  be  remembered  by  many  who 
attended    the    Centennial   Exhibition   in  1876, 
i  where  he  played.      From  May  10th  to  Nov.  11 
he  gave    in    all    183    performances.      He  has 
played  at  the   New   York  and  Brooklyn  Phil- 
i  harmonic  concerts  with    great    success.     His 
!  repertoire  consists  of  nearly  six  hundred  impor- 
|  tant  works,  among  which  are  the  most  of  Bee- 
thoven's sonatas,  Bach's  preludes  and   fugues, 
I  etc.,  and  is  largely  played  from  memory.      Mr. 
Pattison  is  a  resident  of  New  York,  where    he 
!  is  well  known  as  a  pianist,  teacher,  and  com- 
poser.     His    compositions    are   mostly     piano 
I  pieces  of  various  kinds, but  include  some  larger 
j  works,     such   as   "  Concerto    Fantasie-roman- 
j  tique,"  for  piano  with  orchestra  ;    "Niagara," 
;  a  grand  symphony  for  an  orchestra   and   mili- 
i  tary  bond,     and   "  Concert  overture  for  grand 
orchestra,"    played   in  Berlin,  Germany,  with 
i  great    success    and    by  Thomas'   orchestra   in 
New  York. 
Payne,  John  Howard,  was   bom  June 
I  9,   1792,  at  New  York.      Yery   early    in  life  he 
,  was  taken  to  Boston,  where  he  made  his  debut 
as    an  actor  at  the  old  Boston   Theatre.      He 
became  noted    in    that  capacity,   both  in  this 
country  and  Europe.      In  1S41  he  was  appoint- 
ed   consul  at  Tunis,  and  died    there  April    1, 
1852.     The  remains  were  buried  there  but  e.\ 
humed  and  brought  to  this     country     in     the 
spring  of   1883.      His  monument   says   that  he 
i  was  born  at  Boston.     This   is  probably  a  mis 
take   arising  from  the  fact  that  he   lived  there 
while  very  young.     Payne  forever  immortal- 
ized his  name  by  writing  the  poem  of  "Home, 
:  Sweet  Home."       Few  pieces  have  been  writ 
ten  which  so  touch  the  heart,  and  it  has  so  of- 
ten   been  repeated   and   is  so  well  known  thai 
!  there  is  no  need  of  giving  it  here. 

Peace  Jubilees,    The.      Two  mon- 
ster   festivals  of  this  name  have  been  held    in 


[3° 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Boston.  The  first  one  occurred  in  186c,  and 
surpassed  in  size  anything  ever  attempted  he- 
fore.  At  the  first  performance  of  "Elijah*' 
Mendelssohn  had  700  voices,  and  at  the  Crys- 
tal Palace,  London,  in  1862,  the  chorus  num- 
bered 4000,  but  the  chorus  of  the  Peace  Jubi- 
lee numbered  10,000  and  the  orchestra  1000, 
besides  bells,  anvils,  and  cannons.  A  build- 
ing was  erected  expressly  for  the  accommo- 
dation of  the  immense  audience.  The  enthu- 
siasm in  the  city  was  unbounded,  and  through- 
out the  country  the  event  was  looked  upon  as 
one  of  the  greatest  events  thnt  had  taken 
place  in  the  United  States.  The  success  of 
the  first  festival  led  to  the  planning  and  hold- 
ing, in  1872,  of  a  second  one,  the  "World's 
Peace  Jubilee."  This  entirely  eclipsed  its 
vast  predecessor.  The  chorus  numbered 
20,000,  and  the  orchestra  was  proportionately 
large.  Everything  was  on  a  scale  of  grandeur 
never  before  dreamed  of.  Several  of  the  fa- 
mous bands  of  Europe  were  present.  Among 
the  distinguished  foreign  musicians  in  atten- 
dance and  who  were  specially  engaged  were 
Abt,  who  directed  his  own  music,  Strauss, 
Hendel,  the  pianisl,  Wely,  and  others.  Finan- 
cially, however,  the  Jubilee  was  a  failure, 
resulting  in  a  deficit  of  over  #100,000,  which 
had  to  be  borne  by  the  subscribers. 

Both  of  the  festivals  were  originated  by  and 
were  under  the  direction  of  P.  S.  Gilmore 
(See  Gli.MORK,  P.  S.).  It  was  proposed  by 
Mr.  Gilmore  to  hold  the  first  festival  in  New 
York,  but  not  meeting  with  encouragement 
there  he  went  to  Boston,  where  he  received 
the  needful  support.  It  is  hardly  necessary  to 
say  that  Mr.  Gilmore,  as  originator  and  con- 
ductor of  the  Jubilees,  won  a  reputation  and 
notoriety  which  he  has  not  yet  exhausted. 
As  to  the  artistic  and  beneficial  musical  re- 
sults, they  were  disproportionately  small  when 
compared  with  the  capital  invested.  Enthu- 
siasm ran  high  for  awhile,  but  when  it  subsi- 
ded there  remained  little  that  was  permanent. 
This,  however,  was  but  the  natural  result  of 
such  a  festival.  While  harm  may  have  been 
done  to  the  steady  growth  of  music  by  its 
transient  and  superficial  character,  we  may 
with  certainty  assume  that  considerable  good 
was  done  also,  some  of  which  was  undoubt- 
edly permanent.  For  a  fu!l  account  of  both 
Jubilees,  the  reader  is  referred  to  Mr.  Gil- 
more's  book,    "History  of  the  National  Peace 


Jubilee  and  Great  Musical    Festival,"    1    vol. 
758  pp.,  Boston,  Lee  &  Shepard,  1877. 

Peaborty  Concerts.  A  series  of  con- 
certs annually  given  under  the  care  of  the 
Conservatory  of  Music  connected  with  the 
1'eabody  Institute,  Baltimore,  Md.  Since  1865 
eight  concerts,  each  of  which  is  preceded  by 
a  public  rehearsal,  have  been  included  in 
every  series.  The  programs  are  of  high 
order,  and  comprise  symphonies,  suites,  con- 
certos, overtures,  vocal  solos,  etc.  Every- 
thing is  rendered  in  the  best  manner,  and  the 
unusually  fine  performances  of  the  Conserva- 
tory were  such  as  to  call  forth  heaity  praise 
from  von  Bi'ilow  when  he  was  in  this  coun- 
try, in  1875-76.  Since  187 1  the  Concerts 
have  been  under  the  able  direction  of  Asger 
Hamerik,  president  of  the  Conservatory,  who 
has  given  especial  attention  to  the  production 
of  works  by  American,  English  and  Scandi- 
navian composers.  The  orchestra  numbers 
50  performers. 

Peak.  There  was  a  numerous  family  of 
this  name,  all  more  or  less  musical.  Mr.  and 
Mrs.  Peak  began  giving  concerts  in  1841.  In 
1854,  by  which  time  there  were  eight  mem- 
bers, they  introduced  bells  into  their  per- 
formances, and  were  thereafter  known  as 
bell-ringers.  William  H.  established  another 
company  in  1858,  Lisetta  became  noted  as  a 
singer,  and  Alfred  Tays  was  violinist.  Until 
quite  recently,  Mr.  and  Mrs.  Peak  were  still 
giving  concerts. 

Pease,  Alfred  H.,  pianist  and  compos- 
er, was  born  at  Cleveland,  O.,  in  1850.  His 
early  love  for  music  was  not  much  encour- 
aged, but  he  unaided  learned  to  play  the  piano 
somewhat.  He  was  sent  to  school  and  al- 
lowed no  musical  instruction  of  any  kind. 
When  sixteen  years  old  he  entered  Gambia 
College,  and  so  assiduously  studied  as  to  im- 
pair his  health.  This  led  to  his  going  to 
Europe,  where  his  thirst  for  music  greatly 
increased.  Having  finally  obtained  parental 
permission  to  pursue  it  as  a  profession,  he 
studied  the  piano  under  Kullak  and  von  Bil- 
low, composition  under  Wi'irst,  and  scoring 
under  Wieprecht,  making  very  rapid  progress. 
At  the  end  of  three  years  he  returned  to  the 
United  States,  but  made  a  short  stay,  going 
back  again  to  Europe,  where  he  studied  for 
three  years  more  under  the  best  masters. 
After  returning  to  this  country  for  the   second 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


time  he  made  an  extended  concert  tour.  Pre- 
vious to  his  death  he  played  in  most  of  the 
important  cities  and  towns.  As  a  pianist  he 
was  graceful  and  brilliant  and  had  few  super- 
iors. His  works  are  marked  by  originality, 
close  study,  and  careful  writing.  They  con- 
sist of  songs,  piano  pieces,  some  orchestral 
compositions,  etc.  The  songs  number  about 
ioo,  the  earliest  of  which  is  "Break  !  Break  ! 
Break  !"  composed  in  1864.  They  are  sung 
by  Mme.  Nilsson  and  Antoinette  Sterling, 
Milles,  Albani,  Drasdil,  and  Beebe,  Clara 
Louise  Kellogg,  Myron  W.  Whitney,  and  oth- 
er equally  eminent  singers.  Among  the  piano 
pieces  "Antoinette  Polka  Mazurka,"  "Caprice 
Espagnol"  and  "Delta  Kappa  Epsilon  March'1 
are  very  popular.  In  this  class  are  to  be  in- 
cluded a  score  of  arrangements  for  four  hands, 
from  the  operas  of  "Lohengrin,"  "Faust," 
"Aida,"  "Crispino,"  "Les  Huguenots,"  etc. 
Of  the  orchestral  compositions  the  "Reverie 
and  Andante,"  "Andante  and  Scherzo,"  and 
"Romanze,"  have  been  performed  by  Thom- 
as' orchestra  in  New  York  and  other  cities. 
The  "Concerto,"  written  in  i«75,  has  also 
been  given  by  Mr.  Thomas  with  great  success. 

The  death  of  Mr.  Pease  was  particularly 
sad.  For  several  months  previous  no  trace  of 
him  could  be  found,  though  rewards  were 
offered  for  any  information  which  would  lead 
to  a  knowledge  of  his  whereabouts.  He  was 
at  last  discovered  in  St.  Louis,  Mo.,  by  a 
newspaper  reporter,  but  it  was  too  late,  and 
he  died  in  that  city,  Thursday,  July  13,  1882, 
of  congestion  of  the  brain,  undoubtedly 
brought  on  by  excesses.  He  had  a  bright 
future  before  him,  and,  being  a  young  man, 
might  have  taken  a  leading  position  among 
American  musicians.  His  parents,  to  whom 
his  death  was  a  severe  blow,  now  reside  at 
Buffalo. 

PeiifieM,  Smith  Newhai.i.,  organist  and 
composer,  was  born  at  Oberlin,  Ohio,  April 
4,  1837.  He  became  organist  while  very 
young.  His  earlier  musical  studies  were  per- 
sued  in  New  York.  He  subsequently  went  to 
Leipzig  and  studied  the  piano  with  Moscheles, 
I'apperitz  and  Reinecke,  the  organ  with  Rich- 
ter,  counterpoint  and  fugue  with  Richter  and 
Hauptmann,  and  composition  with  Reinecke. 
He  also  studied  at  Paris  with  Delioux.  For 
some  time  after  his  return  he  resided  at  Roch- 
ester, N.  Y.      He  then  removed  to  Savannah, 


Ga.,  where  he  established  the  Savannah  Con 
servatory  of  Music  and  the  Mozart  Club.  For 
a  number  of  years  he  has  resided  at  New 
York  City.  He  has  given  organ  recitals  at 
the  Church  of  the  Pilgrims,  Brooklyn,  at  St. 
George's  Church,  New  York,  and  more  re- 
cently at  Chickering  Hall.  In  1883  he  was 
made  Doctor  of  Music  by  the  University  of 
New  York,  and  in  18S4  elected  president  of 
the  M.  T.  N.  A.  In  the  autumn  of  18S5  he 
founded  the  New  York  Harmonic  Society. 
Dr.  Penfield's  compositions  consist    of   organ 


and 


piano    music,    songs, 


mtln 


i,    glees,  a 


string  quintet,  an  overture  for  full  orchestra, 
and  a  cantata — the  18th  Psalm — for  soli,  cho- 
rus and  orchestra. 

Perabo,  Ernst,  well-known  in  this 
country  as  a  pianist,  composer  and  teacher, 
was  born  Nov.  14,  1845,  at  Wiesbaden,  Ger- 
many. He  was  the  youngest  often  children, 
all  of  whom  became  musicians,  and  the  only 
child  by  his  father's  second  marriage.  When 
five  years  old  his  musical  instruction  was 
begun  by  his  father,  and  his  precocity  and 
rapid  progress  may  be  inferred  from  the  fact 
that  v  hen  eight  he  could  play  Bach's  "Well- 
tempered  Clavier"  by  heart — a  feat  worthy  of 
an  accomplished  musician  and  almost  unpar- 
alleled for  one  so  young.  In  1852  his  parents 
came  to  the  United  States,  landing  at  New 
York.  During  the  residence  of  the  family 
there  he  first  appeared  in  public  as  a  player, 
and  with  gratifying  success.  From  New  York 
the  family  removed  to  Dover,  N.  H.,  from 
there  to  Boston,  and  thence  to  Chicago,  all  in 
three  years,  two  of  which  were  spent  in 
Dover.  While  in  Boston  he  again  appeared 
in  public  as  a  player  at  a  concert  under  the 
direction  of  Carl  Zerrahn.  His  father  was 
unable  to  send  him  abroad  to  complete  his 
musical  education,  but  finally  some  men  of 
means  were  interested  in  his  behalf,  prominent 
among  whom  was  Mr.  Scharfenberg  (of  the 
firm  of  Scharfenberg  <5k  Lewis,  music  dealers), 
who  had  become  acquainted  with  the  family 
while  in  New  York.  He  was  accordingly 
sent  to  Germany,  leaving  this  country  Sep.  1, 
1858,  and  settled  at  Hamburg,  where  he  not 
only  studied  music  but  literature  also.  Oct. 
22,  1862,  after  a  resilience  of  four  years  at 
Hamburg,  he  entered  the  Conservator]  ttra  at 
Leipzig,  receiving  instruction  on  the  piano 
from    Moscheles    and    Wenzel,     in     harmony 


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from  Papperitz,  Hauptmann,  and  Kichter,  and 
in  composition  from  Reinecke.  At  the  public 
examination  of  May,  1865,  he  played  a  part  of 
Burgmtiller's  concerto  in  F  sharp  minor,  then 
heard  for  the  first  time  in  Leipzig. 

Having  completed  his  studies  at  the  Con- 
servatorium,  Mr.  Peraho,  in  November,  1865, 
returned  to  this  country-  He  first  visited  his 
parents,  then  living  in  Sandusky,  O.,  and  also 
gave  some  concerts  in  Chicago  and  Cleve- 
land. After  some  hesitation,  he  in  March, 
1866,  settled  in  Boston.  He  was  invited  to 
play  at  the  last  concert  of  the  season  given  by 
the  Harvard  Musical  Association,  which  oc- 
curred April  21st.  Since  then  he  has  regu- 
larly appeared  at  one  or  more  concerts  of  this 
society.  He  has  also  given  every  season  !  a 
series  of  recitals  and  matinees  of  his  own, 
which  are  of  the  very  highest  order.  Among 
other  things  he  has  played  the  whole  of 
Schubert's  piano  sonatas  in  public.  His  ie- 
pntohe  includes  the  best  works,  and  he  is 
particularly  happy  as  an  interpreter  of  Bee- 
thoven. As  a  teacher  of  the  piano  he  is  sur- 
passed by  few,  and  he  always  has  a  large 
number  of  pupils.  His  compositions,  mostly 
for  the  piano,  and  published  both  in  this 
country  and  Germany,  are  quite  numerous 
and  of  great  merit.  Among  them  are  a  Scherzo 
(op.  2),  3  Studies  (op.  9),  and  an  Introduc- 
tion and  Andante  (op.  45).  He  has  published 
some  collections  of  pieces  for  the  use  of  pu- 
pils, and  made  concert  arrangements  of  Ru- 
binstein's "Ocean  Symphony"  and  "Dimitri 
Dunskoi."  Occasionally  he  employs  his  pen 
as  a  musical  writer,  though  not  so  often  as 
might  be  wished. 

Perkius,  Coi,.  Orson,  was  born  Dec. 
17,  1802,  at  Hartland,  Windsor  Co.,  Vt.  He 
inherited  considerable  musical  talent  and  a 
good  voice,  and  when  twenty  years  of  age 
had  attained  some  notoriety  as  a  singer.  Soon 
after  he  commenced  the  career  in  which  he 
was  so  eminently  successful — that  of  a  sing- 
ing-master. He  married  Hannah  Rust,  a 
soprano  singer  of  Rochester,  Vt.,  by  whom  he 
had  eight  children.  Six  of  them  grew  to  ma- 
turity, as  follows :  William  Oscar,  Henry 
Southwick,  Azro  Orson,  Edwin  Hazen,  Ellen 
Froncilia,  and  Jules  Edson.  The  first  two 
are  widely  known  as  teachers,  composers  and 
conductors,  and  the  last  was  (  before  his 
death)    a  very    fine    bass  singer.      The    fourth 


son  is  also  a  teacher,  and  the  daughter  (now 
Mrs.  George  S.  Cheney  of  Boston)  possesses 
good  vocal  talents.  Mr.  Perkins  was  a  man 
of  great  purity  and  strength  of  character.  His 
voice,  a  baritone  of  extended  compass  and 
pure  quality,  he  retained  up  to  the  close  of 
life.  After  leading  a  long  and  actively  de- 
voted career,  he  passed  away  at  Taftsville, 
Vt.,  at  the  ripe  age  of  nearly  eighty,  April 
19,  1882. 

Perkins,  Henry  Southwick,  second 
son  of  the  preceding,  was  born  at  Stockbridge, 
Windsor  Co.,  Vt.,  March  20,  1833.  His  early 
life  was  spent  in  working  on  a  farm,  and  his 
knowledge  of  music,  was  such  as  could  be 
gained  during  leisure  hours.  In  1849  the 
family  removed  to  Woodstock,  Vt.  Having 
arrived  at  age  and  being  his  own  master,  he 
visited  Boston.  From  there  he  went  to 
Lowell,  where  he  engaged  in  the  show  busi- 
ness. The  venture  was  not  successful,  how- 
ever, and  he  next  became  a  member  of  the 
"Mendelssohn  (Quartet  Concert  Company," 
with  which  he  traveled  in  New  Hampshire, 
Pennsylvania,  New  York,  New  Jersey,  and 
Vermont.  He  now  fully  decided  that  music 
should  be  his  life-work,  and  accordingly  en- 
tered the  Boston  Music  School,  Boston,  grad- 
uating therefrom  in  1861.  After  this  he  com- 
menced holding  musical  conventions  and 
institutes,  making  Chicago  (to  which  he  had 
removed  in  1857)  his  permanent  home.  In 
1867  he  was  appointed  professor  of  music  in 
the  Iowa  State  University  at  Iowa  City,  and 
also  director  of  the  State  Academy  of  Music, 
located  in  the  same  city.  The  first  post  he 
held  two  years  and  the  second  one  five  years. 
He  also  held  the  position  of  president  of  the 
Kansas  State  Academy  of  Music  for  five 
years,  commencing  with  1869.  It  has  always 
been  his  aim  to  introduce  the  best  class  of 
music  by  bringing  forward  such  works  as 
Haydn's  "Creation,"  Handel's  "Messiah," 
Mendelssohn's  "  Elijah,"  Mozart's  "  12th 
mass,"  etc.  On  account  of  impaired  health 
he  made  a  trip  abroad  in  the  summer  of  1875, 
successively  visiting  England,  France,  Switz- 
erland, Belgium,  Germany,  Austria,  Italy, 
and  Egypt.  At  both  Paris  and  Florence  he 
spent  considerable  time  in  perfecting  himself 
in  the  different  branches  of  his  profession. 

Mr.  Perkins  edited  his  first  work,  "The 
Nightingale,"    for    public   schools,    in    t86e, 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


being  assisted  by  his  brother.  He  has  edited 
in  all,  either  alone  or  in  conjunction  with 
others,  twenty-live  books,  the  most  prominent 
among  which  are  the  "Song  Echo,"  "The 
Advance,"  "New  Century,"  "Perkins'  Glee 
and  Chorus  Book,"  and  "Model  Class  Book." 
The  following  is  a  complete  list  of  his  books  : 

i.   Nightingale  (1S60).     Public  schools. 
2.   Sabbath  School  Trumpet  (1864). 
V   Church  Bell  (1867). 

4.  .College  Hvmn  and  Tune  Book  (1868). 

5.  Perkins'  Vocal  Method  (1868).      2  vols. 
t>.   Song  Echo  (1871). 

7.  Advance   (1872).      Church  music. 

8.  River  of  Life  (1873).      Sunday    schools. 

9.  Headlight  (1873).     Public  schools. 

10.  Convention  Choruses  (1874). 

11.  Sunnyside  (1875).     Sunday  schools. 

12.  Shining  River  (1875).     Sunday  schools. 

13.  New  Century  ( 1876).   Choirs,  classes,  etc. 

14.  Glee  and  Chorus  Book  (1876). 

15.  Graded  Music  Reader,  1  and  2  b'ks  (1877) 

16.  Graded  Music  Reader,  3  hook  (1878). 

17.  Glorious  Tidings  (187S).   Sunday  schools. 

18.  Perkins'  Class  and  Choir  (1879). 

19.  Perkins'  Graded  Anthems  ( 1880). 

20.  Palms  of  Victory  (18S0).   Sunday  schools. 

21.  Model  Class  Book  (1881). 

22.  Good  Templar   (1881).      Temperance. 

23.  Song  Wave  (1882).      Public  schools. 

24.  The  Wavelet  (  1882).      Public  schools. 

25.  The  Choir  (1883).      Choirs,  classes,  etc. 
He  has  also  written  numerous  popular  songs 

and  quartets,  among  which  are  "Make  Your 
Home  Beautiful,"  "Maist  Onie  Day,"  "Dear 
Happy  Home,"  "Alone,"  "Let  Me  Die  by 
the  Sea,"  "Tender  and  True,"  "Sweet  and 
Low,"  and  "Sleep  in  Peace." 

Perkins,  Dr.  William  Oscar,  eldest 
son  of  Col.  Orson  Perkins  and  brother  of  the 
preceding,  was  born  at  Stockbridge,  Windsor 
Co.,  Vt.,  May  2^,  1831.  He  received  his 
literary  education  at  Kimball  Academy,  Meri- 
den,  N.  H.,  ami  nfter  graduating  taught  for 
some  time  at  New  Brunswick,  N.  J.  He  then 
went  to  Boston,  where  he  began  teaching 
music  in  1858.  Having  studied  with  the  best 
American  musicians,  he  went  to  Europe, 
taking  voice-lessons  of  J.  Q.  Wetherbee, 
London,  a  fellow  of  the  Royal  Academy  of 
Music,  and  G.  Perini,  Milan.  Ever  since  his 
return  to  the  United  States  he  has  been  busily 
engaged  as  teacher,  conductor,  and  composer. 
He  has  held  over  2co  musical  conventions 
in  the  Northern  States  and  Canada,  conducted 
ten  summer  "Normals"  of  from  four  to  six 
weeks  each,  besides  local  societies,  concerts, 
etc.      During   a   portion    of    1871  and  1872  he 


traveled  in  Europe  for  the  purpose  of  study 
and  observation.  The  degree  of  Doctor  of 
Music  was  conferred  on  him  by  the  Hamilton 
(N.  Y.)  College  in  1S79. 

Mr.  Perkins  is  a  musician  of  more  than 
ordinary  ability  and  favorably  known  through- 
out the  country.  The  following  is  a  list  of  his 
music  books,  which  contain  the  most  of  his 
compositions  : 

1.  Choral  Harmony.      For  the  church.      1859 

2.  Nightingale.      Day  schools.  -  i860 

3.  Union  Star  Glee  Book.  -  1S61 

4.  Atlantic  Glee  Book.  -  -  1861 

5.  Tabernacle.      For  the  church.  1862 

6.  Golden  Robin.      Day  schools.      -  1863 

7.  Sabbath  School  Trumpet.      -  1S64 

8.  Church  Bell.  -  -  1867 

9.  Starry  Crown.      Sunday  schools.  1869 

10.  Dominion  Songster.     (For  Canada).    1870 

11.  Laurel  Wreath.      High  schools.  1870 

12.  Chorister.      For  the  church.         -  1S70 

13.  Mocking  Bird.      Day  schools.  1871 

14.  Orphean.   Boys'  schools  and  colleges  1871 

15.  Church  Welcome.  -  1872 

16.  Seminary  Album.      Ladies'  schools.    1873 

17.  Perkins'  Anthem  Book.  For  choirs.  1874 
iS.    Shining  River.      Sunday  schools.  1875 

19.  Zion.      For  the  church.  -  1875 

20.  Perkins' Singing  School.   For  classes  1875 

21.  Whippoorwill.     Day  schools.     -  1876 

22.  Male  Voice  Glee  Book.        -  187O 

23.  American  Glee  Book.   (Mixed  voices)  1877 

24.  Herald.      For  the  church.  -  1877 

25.  Requiem,     Funeral  occasions.  1878 

26.  Crystal  Fountain.     Temperance.  1878 

27.  Singers'  Class  Book.  -  1878 

28.  Tree  of  Life.      Sunday  schools.  1878 

29.  Temple, The.    Church  and  conv'ntion  1879 

30.  Anthem  Harp,  The.     For  choirs.  1880 

31.  Vocal  Echoes.      ( Female  voices).         1881 

32.  Choral  Choir.  Choir  and  convention  1882 
2^.   Peerless,  The.      For  classes.         -  1882 

Perkins,  Jn.rc  Edson,  youngest  son  of 
Col.  Orson  Perkins,  was  born  at  Stockbridge, 
Windsor  Co.,  Vt.,  March  19,  1845.  When 
ten  years  of  age  he  sang  alto  in  a  church 
choir  and  also  appeared  in  public  as  a  pianist. 
His  systematic  musical  studies  were  begun  in 
Boston  when  he  was  about  fourteen.  There 
he  continued  until  1867.  In  that  year,  after 
some  hesitation  between  the  ministry  and  the 
stage,  he  went  to  Paris,  where  he  studied  one 
year  under  M.  Delle  Sedie.  From  Paris  he 
went  to  Italy,  studying  under  the  best  Italian 
masters  at  Milan  and  Florence  for  five  years. 
During  this  period  he  filled  engagements  at 
Padua,  Pisa,  Genoa,  Rome,  Milan,  and  one 
of  several  months  at  Warsaw,  Poland,  lb- 
made  his  regular  operatic  debut  in  1869  with 
great  success.      By  1873  his  fame  had  reached 


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England,  ami  in  that  yt'ar  he  w  ith  other  can- 
didates for  operatic  engagements  appeared  at 
La  Scala,  Milan,  before  numerous  impresarii, 
agents  and  critics.  An  incident  occurred  at 
this  time  which  shows  the  sharpness  of  some 
operatic  managers.  He  had  sung  one  selec- 
tion, which  was  listened  to  with  profound  at- 
tention, and  was  requested  to  sing  another  by 
Col.  J.  H.  Mapleson.  While  this  was  being 
done,  that  worthy  gentleman  "begged  his 
friends  to  excuse  him  a  moment,"  when  he 
hastened  behind  the  scenes,  captured  the 
young  basso  and  took  him  to  a  caf/,  and  had 
a  six  years'  engagement  signed  before  the 
other  agents  were  aware  of  it.  Upon  learning 
of  this  a  Constantinople  impresario  offered  ( !ol. 
Mapleson  ^4000  (  nearly  S2o,ooo  )  for  his 
bargain. 

Mr.  Perkins  made  his  debut  as  a  concert 
singer  in  Haydn's  "Creation,"  at  Royal  Al- 
bert Hall,  London,  Jan.  13,  1874,  before  an 
audience  of  10,000.  His  success  was  instan- 
taneous and  complete,  and  almost  amounted 
to  an  ovation.  The  praise  and  compliments 
showered  upon  him  during  his  operatic  tour 
of  the  English  provinces  have  seldom  or  never 
been  given  to  any  other  artist  of  less  than 
world-wide  reputation.  His  repertoire  was 
extensive,  including  "La  Favorita,"  "Don 
Giovanni,"  "II  Flauto  Magico,"  "Zauber- 
flote,"  "Norma,"  "Faust,"  and  other  operas. 
Mephistopheles  in  "Faust"  and  Sarastro  in  "II 
Flauto  Magico"  were  the  roles  in  which  he 
created  the  greatest  impression.  He  was 
equally  at  home  in  the  oratorio  or  opera,  and 
in  both  had  rare  success.  July  23,  1874,  he 
was  married  to  Mile.  Marie  Roze  (see  Ro/.K), 
the  well-known  prima  donna,  who  was  a  mem- 
ber of  the  same  company.  With  her  he  vis- 
ited this  country  for  the  last  time  during  the 
same  summer.  Previous  to  this  he  had  made 
two  visits,  viz:  1869  and  1871,  usually  singing 
in  the  summer  institutes  of  his  brother,  H.  S. 
Perkins.  He  died  at  Manchester,  Eng.,  Feb. 
25,  1875.  By  his  death  not  only  America  but 
the  whole  musical  world  lost  an  artist  of  rare 
promise.  His  voice  was  a  bass  of  great  com- 
pass, depth  and  tine  quality,  and  excellently 
cultivated. 

Perry,  Emory,  American  singer,  was 
born  July  25,  1799,  at  Holiston,  Mass.  When 
seventeen  years  old  he  was  appointed  chor- 
ister, and  received  $30  a  year  for  his  services 


—a  fair  salary  at  that  time.  In  1818  he  re- 
moved to  Milford,  where  he  received  $100, 
and  in  1821  to  Worcester,  where  he  received 
S300.  He  was  very  successful  as  a  teacher  of 
singing,  and  taught  upwards  of  20,000  pupils. 
His  voice  was  a  remarkable  one,  having  a 
compass  extending  from  two  octaves  below 
middle  C  to  one  octave  above  it.  Its  quality 
was  very  uniform,  being  rich  and  pleasing, 
though  somewhat  reedy  in  the  extreme  lowest 
register.  The  date  of  his  death  we  have  not 
learned. 

Peter,  St.  An  oratorio  by  John  K. 
Paine,  op.  20.  First  produced,  under  the 
direction  of  the  composer,  at  Portland,  Me., 
June  3,  1873.  Given  by  the  Handel  and 
Haydn  Society  of  Boston,  May  9,  1874. 

Petersilea,  CARLYLE,  one  of  America's 
most  prominent  pianists  and  teachers,  was 
born  at  Boston,  .Jan.  18,  1844.  His  mother, 
Mary  Ann  Carew,  was  an  English  lady,  and 
his  father,  Franz  Petersilea,  was  a  native  of 
Oldesleben  in  the  Crand  Duchy  of  Saxe-wei- 
mar,  Germany.  Franz  was  destined  for  the 
ministry,  and  in  consequence  received  an  ex- 
cellent classical  education,  but  his  passion  for 
music  could  not  be  resisted.  He  devoted  his 
life  to  the  art,  and  will  be  remembered  as  an 
able  and  scholarly  musician  by  many  persons 
still  living.  He  died  at  Mattapan,  near  Bos- 
ton, Sep.  22,  1878.  Carlyle  was  early  and 
systematically  instructed  in  music  by  his  fath- 
er. By  the  time  he  was  seven  years  of  age  he 
was  already  giving  lessons,  and  when  twelve 
performed  such  compositions  as  Hummel's 
"Rondeau  Brilliant"  in  public.  In  order  to 
complete  his  studies  he  in  1862,  being  then 
sixteen,  went  to  Germany  and  entered  the 
Conservatorium  at  Leipzig.  There  for  three 
years  he  studied  under  Plaidy,  Wenzel,  and 
Moscheles,  with  whom  he  became  a  great  fa- 
vorite. At  the  Grand  Priifungen,  held  in  the 
gewandhaus  of  the  Conservatorium,  he  tri- 
umphantly performed  the  "Henselt  Concerto" 
(Moscheles  conducting),  which  had  never 
before  been  played  in  Leipzig  except  by  von 
Blilow.  He  graduated  with  the  highest  hon- 
ors, being  awarded  the  prize  of  the  Helbig 
fund.  He  then  made  a  professional  tour  of 
the  principal  German  cities  and  was  every- 
where received  with  enthusiasm.  Upon  re- 
turning to  this  country  he  was  most  cordially 
received  at  New  York,  as  he  also  was  at  Bos- 


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135 


ton,  where  he  lirst  appeared  at  a  concert  giv- 
en in  the  Music  Hall,  playing  Chopin's  F 
minor  concerto  and  Liszt's  arrangement  of 
Schumann's  "P>1  King."  He  soon  settled  in 
the  latter  city  and  became  highly  successful 
as  a  teacher  and  soloist.  Feeling  the  neces- 
sity of  more  room  for  the  rapidly  increasing 
number  of  his  pupils,  he  in  1871  founded  the 
conservatory  now  known  as  "The  I'etersilea 
Academy  of  Music,  Elocution  and  Langua- 
ges,"  located  on  Columbus  Avenue. 

Early  in  life  Mr.  Petersilea  astonished  musi- 
cians by  the  extent  of  his  repertoire,  which 
now  covers  nearly  the  whole  field  of 
piano  literature.  Three  qualities  which  he 
possesses  to  a  great  degree  are  reading  at 
sight,  technique,  and  a  ready  and  unfailing 
memory.  Between  January  20  and  May  29, 
1S74,  he  gave  a  series  often  recitals  at  which 
he  played  from  memory  the  whole  of  Beetho- 
ven's 32  sonatas,  a  feat  accomplished  before 
only  by  Charles  Halle  of  London.  His  pow- 
ers of  sight  reading  were  evidenced  by  his 
playing,  on  one  occasion,  Chopin's  E  minor 
concerto  with  Theodore  Thomas'  orchestra 
after  only  a  few  hours'  notice,  in  the  place  of 
Josefty.  Since  1875  he  has  been  pianist  of 
the  Boylston  Club  of  Boston,  a  position  for 
which  he  is  admirably  fitted.  Notwithstanding 
his  duties  as  a  teacher,  he  occasionally  ap- 
pears as  a  soloist  at  the  Philharmonic,  Boyls- 
ton Club,  and  Harvard  Symphony  conceits. 
Quite  recently  he  made  a  tour  of  the  West 
with  Mrs.  Annie  Louise  Cary-Raymond.  As 
a  pianist,  he  possesses  the  power,  depth  and 
breadth  necessary  to  interpret  Beethoven's 
music,  and  the  delicacy  and  poetic  fancy  so 
essential  in  rendering  Chopin's  works.  As  a 
teacher,  he  has  few  superiors,  as  is  attested 
by  the  number  of  excellent  players  which  he 
has  educated.  Thus  far  Mr.  I'etersilea  has 
given  little  attention  to  composing,  but  it  is 
hoped  that  he  may  give  more  in  the  future. 

Philadelphia  takes  a  prominent  place 
among  the  cities  of  this  country  for  the  num- 
ber of  its  musical  societies  and  its  "vigorous 
musical  life."  There  are  sixty -five  of  the  so- 
cieties, the  oldest  of  which  is  the  Musical 
Fund  Society,  established  Feb.  29,  1820.  The 
Society  built  a  hall  for  its  use  in  1823,  and 
about  1830  opened  an  academy  for  instruction 
in  music.  It  has  liberally  aided  its  profes- 
sional   members  and    their    families.      For  fif- 


teen years  the  funds  have  been  gradually  ac- 
cumulating, and  with  the  sum  thus  obtained 
it  is  designed  to  establish  a  school  of  music. 
The  Society  has  quite  a  large  library  of  music 
in  score.  The  members  number  fifty,  of 
whom  foui  teen  are  professional  musicians. 
Of  the  other  societies  the  Orpheus  Club  was 
organized  in  August,  1S72,  and  has  30  active 
and  300  associate  members.  The  Cecilian 
Society  has  about  400  active  members,  and 
was  founded  May  25,  1875.  The  Beethoven 
Society  was  organized  in  i86cj,  and  the  other 
societies  at  various  times. 

The  University  of  Pennsylvania,  which  is 
located  in  Philadelphia,  has  a  course  of  study 
in  music.  Degrees  are  bestowed  upon  stu- 
dents who  pass  an  examination  in  harmony, 
counterpoint,  and  composition.  The  profes- 
sor of  music  is  Hugh  A.  Clarke,  who  has  an 
orchestra  and  a  glee  club  composed  of  under- 
graduates. Among  the  private  institutions 
for  musical  instruction  is  the  Philadelphia 
Musical  Academy,  presided  over  by  Mme. 
Emma  Seiler,  which  has  a  regular  attendance 
of  over  100  pupils. 

The  following  is  a  list  of  the  musical  soci- 
eties in  Philadelphia,  with  the  name  of  the 
conductor,  and  in  some  cases  the  year  when 
organized  : 

Abl  Society,  Hugh  A  Clarke. 

Allemania,  -  -  F.  W.  Kiinsel. 

Amphion  Society, 
Arbeiter  Sangerbund, 

Arion,  -  -  J.  Schaaf. 

Arion  (Germantnwn), 
Aurora,        - 

Beethoven  Liederkranz,  -  F.  W.  Kiinsel. 
Beethoven   Mannerchor,  -  L.  Grobl. 

Creciha, 

Cecilian  (1875),  -  M.H.Cross. 

Cecilian  Musical  Beneficial  Association, 

B.  C.  S.  Wilks  (Pres.) 
Columbia  Gesangverein,  -  W.  Winter. 

Columbia  Burschenschaft,  L.  Ockenlander. 
Concordia  Gesangverein,  -  E.  Gastel. 

Concordia  Quartet  Club,  L.  Engelke. 

Eintracht,  -  -  H.  Peters. 

Eintracht  Quartet  Club, 

Fidelio  Gesangverein,         -  G.  Wilke. 

Fidelio  Mannerchor, 

Gambrinus  Sangerkranz,  F.  Stadier  (Sec). 

Germania  Liederkranz,  -  G.  Wilke. 

Germania  Mannerchor,  -  C.  M.  Schmitz. 
Handel  and  Haydn  Society,       -  C.  Sentz. 

Harmonie,  -  -  F.  W.  Kiinzel. 

Harmonie  Quartet  Club, 

Kreuznacher  Sangerbund,  W.  Winter. 

Liederkranz,  -  Dr.  Romermann. 

LiedertaLl,  .  J.  W.  Jost. 


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Liedertafel  d.  D.  F.  Gemeinde,  P.  .1  > «st - 

Lotus  Club,  C.  M.  Schmitz. 

Da  Lyre,  -  -       F.  M.  A.  Perrot. 

Lyric  Club,  -  -         H.  Keely. 

Manayunk  Choral  Society,     W.  A.  Newlan<l. 

Mannerchor,     -  E.  Gastel. 

Mai  burger  Liedertafel,  -  G.  Folker. 

Mendelssohn  Club,  W.  W.  Gilchrist. 

Mozart  Hannonie, 

Mo/art  Mannerchor,  -  J.  G.  Dickel. 

Mozart  (Quartet  Club, 

Musical  Fund  Society  (1S20),  Dr.  Dunglison. 

<  hchester  derD.  F.  Gemeinde,  C.  Heinemann 

Orpheus  Club  (1872),  -  M.  H.  Cross. 

Philadelphia  Amateur  Orchestra,     J.  Brophy. 

Philadelphia  Musical  Association,  L.  Engelke. 

Philadelphia  Opera  Verein,  -         F.  Wink. 

Philharmonia  Mannerchor, 

Quartet  Club,  -  -       H.  Peters. 

Rothmanner  Gesangverein,  H.  Peters. 

Sangerbund,  -     C.  Gartner. 

Schiller  Liedertafel,  J.  Schaaf. 

Schiller  Quartet  Club, 

Schwabischer  Liederkran/, 

Schweitzer  Mannerchor,  -  J.    Brenner. 

Southwark  Sangerbund, 

Southwark  Liederkranz, 

Teutonia  Mannerchor, 

Teutonia  Sangerbund,  -        H.  Peters. 

Tischler  Mannerchor,  -  J.  Brenner. 

Turner  Gesang  Section,  -       J.  W.  Jost. 

Union  Sangerbund, 

West  Phila.  Choral  Society,  W.  W.  Gilchrist. 

WTest  Philadelphia  Harmonie,       -       A.  Faas. 

West  Philadelphia  Mannerchor, 

Young  Mannerchor,  R.  Grauer. 

University  of  Pennsylvania.  The 
musical  department  of  this  University  is  under 
the  charge  of  Prof.  Hugh  A.  Clarke.  Two 
vears  of  three  terms  each  cover  the  course,  the 
first  being  devoted  to  harmony  and  the  second 
to  counterpoint  and  composition.  Pupils  of 
both  sexes  are  admitted,  provided  they  have  a 
good  rudimental  knowledge  of  music  and  the 
ability  to  play  some  instrument.  Diplomas  or 
certificates  are  conferred  on  the  judgment  of 
the  professor  at  the  conclusion  of  the  course. 
Students  may  at  any  subsequent  time  receive 
the  degree  of  Bachelor  of  Music  upon  the  fol- 
lowing conditions:  I.  By  passing  an  examin- 
ation in  harmony,  counterpoint  and  composi- 
tion, by  three  examiners  appointed  by  the  pro- 
fessor, subject  to  the  approval  of  the  provost; 
the  examination  to  be  oral  or  written,  or  both, 
at  the  option  of  the  examiners.  2.  They  must 
submit  to  the  examiners  an  original  composi- 
tion in  the  form  of  a  cantata  for  solos  and  cho- 
rus, with  accompaniment  of  at  least  a  quintet 
of  string  instruments.  3.  This  composition 
must  be  of  such  length  as  to  require  at  least 


twenty  minutes  for  its  performance;  it  must 
contain  a  four-part  fugue,  and  the  accompani- 
ment must  be  independent,  except  in  the  fugue. 
4.  The  composition  must  be  accompanied  by  a 
written  statement  that  it  is  the  student's  own 
unaided   effort.      A  series  of  lectures  on  har- 

:  mony,  counterpoint  and  composition  are  given 

j  each  term  by  the  professor,  the  fee  for  which 
is  Sio. 
Philadelphia  Musical  Academy.     This 

1  institution  was  founded  in  1870,  by  John  F. 
Hinimelsbach,  Rudolph  Hennig  and  Wenzel 
Kopta.  Two  years  later  Kopta  returned  to 
Europe,  and  the  Academy  passed  under  the 
control  of  Messrs.  Hinimelsbach  and  Hennig. 
At  the  end  of  five  years,  Mr.  Hinimelsbach 
became  sole  proprietor  and  director.  In  1877 
he  also  returned  to  Europe  and  was  succeeded 
by  Richard  Zeckwer,  under  whose  able  direc- 
tion it  has  since  been.  Mr.  Zeckwer  is  a 
graduate  of  the  Leipzig  Conservatorium,  where 
he  studied  under  Moscheles,  Hauptmann, 
Richter  and  Reinecke.     He  came  to  America 

j  in  1869,  and  has  been  connected  with  the 
Academy  from  its  inception.      The  methods  of 

I  imparting  instruction  are  largely  modeled  after 
those  employed  in  European  conservatories. 
All  branches  of  music  are  taught  and  the 
principal  modern  languages.  The  number  of 
pupils  in  attendance  upon  the  Academy  during 

!  the  year  1884-85  was  755.      Among   the    more 

'  noted  of  the  teachers  are  Richard  Zeckwer, 
Rudolph  Hennig,  F.  Grischow,  F.  E.  Cresson, 

I  David  Wood,  Pasquale  Rondinella  and  W.  W. 

1  Gilchrist. 

Philharmonic  Societies.    See  Bos 

i  ton  and  New  York  and  Brooklyn. 

Phillips,    Adelaide,    one  of  America's 

greatest  contralto  singers,  was  born  at  Bristol, 

England,    in    1833.     She    came    to  the  United 

States  (by  the  way  of  Canada)  with  her  parents 

when    seven     years    old.      Her    vocal    powers 

were  early  manifested,  and  she  made  her  first 

public    appearance    at    the   'Fremont  Theatre, 

Boston,    Jan.  12,    1842,  when  she   personated 

!  several    characters    in    a    little  comedy.     The 

following    year    she    appeared    at    the  Boston 

Museum,  also  dancing  between  plays.     Thus 

!  far  she  had  been  instructed  by  Thomas  Comer 

j  of   Boston,    but   when    she  sang  before  Jenny 

1  Lind  in  1850  that  lady  was  so  pleased  that  she 

advised   her  to  go  to  Europe    to  complete  her 

education.     The   necessary  funds  were  raised 


EIANDBOOK    OF    AMERICAN    MUSIC   AND    MUSICIANS. 


Iiy  subscription  and  a  benefit  concert.  She 
arrived  in  London  in  March,  1852,  where  she 
studied  the  voice  with  Sig.  E.  Garcia  and 
piano  and  harmony  with  \Y.  Chalmers.  After 
a  year  an  1  a  half,  the  additional  means  having 
been  furnished  by  Jonas  Chickering,  the  cele- 
brated piano  manufacturer,  she  went  to  Italy 
and  placed  herself  under  the  best  masters 
there.  Her  professional  debut  was  made  at 
Milan,  Dec.  17,  1854,  as  Roslna  in  "The  Bar- 
ber of  Seville."  She  returned  with  her  father 
to  this  country  in  1855.  In  1S01  she  visited 
England,  France,  and  other  European  coun- 
tries, singing  in  the  principal  cities,  and  meet- 
ing with  a  warm  welcome.  At  home  she 
made  repeated  tours  and  won  a  permanent 
place  in  the  hearts  of  the  people.  She  joined 
the  Boston  Ideal  Opera  Company  in  1879,  ln 
which  she  was  often  beard.  Azttcena  in 
Verdi's  ''II  Trovatore"  was  her  favorite  rdle. 
Her  sphere  was  by  no  means  confined  to  the 
opera,  for  the  frequently  sang  in  oratorio  at 
the  concerts  of  the  Boston  Handel  and  Haydn 
Society  with  scarcely  less  success.  She  ap- 
peared in  Boston  for  the  last  time  at  the 
Museum,  in  November,  1880,  at  Mary  Beebe's 
benefit,  and  her  last  appearance  on  any  stage 
was  at  Cincinnati,  in  December,  1881.  Fail- 
ing health  compelled  a  rest,  but  it  was  too 
late,  and  she  died  in  September,  18S2,  in  the 
southern  part  of  France,  whither  she  had  gone 
seeking  relief.  Miss  Phillip's  voice  was  a 
pure,  rich  contralto  with  a  compass  of  2  Y2 
octaves,  ranging  up  to  B  flat  in  alt.  She  was 
not  only  a  fine  artist,  but  a  kind-hearted, 
noble  woman,  and  her  death  was  lamented  by 
a  very  large  circle  of  friends.  Her  mother 
died  in  1855,  the  year  of  her  return  from 
Europe,  and  her  father,  Alfred  Phillips,  at 
Marshfield,  Mass.,  Oct.  16,  1870. 

Phillips,  Philip;  was  bom  Aug.  13,  1834, 
at  Jamestown,  Chautauqua  Co.,  N.  Y.,  and 
began  music  teaching  when  he  was  nineteen 
years  of  age.  He  settled  in  Cincinnati,  but 
in  1866  removed  to  New  York,  where  he  has 
since  resided.  In  the  United  States  and  Fag- 
land  he  is  quite  widely  known  as  a  very  pleas- 
ing singer  of  songs,  mostly  sacred.  He  has 
composed  a  great  number  of  hymn  tunes  and 
religious  pieces,  and  edited  several  collections 
of  such  music,  among  which  are  the  "Singing 
Pilgrim,"  "  Musical  Leaves,"  "Hallowed 
Songs,"     "Centenary     Singer,"     "Song    Ser- 


mons," and  a  Hymnal  ( 1871 )  for  the  Methodist 
Episcopal  Church. 
Piano  in  America,  The.     Anything 

like  a  complete,  or  even  a  partial,  historv  of 
the  development  of  piano  making  in  this  coun- 
try is  yet  to  be  written.  The  piano  was  being 
manufactured  in  Europe  when  this  nation  was 
horn,  yet  American  inventive  genius  has  done 
as  much  toward  perfecting  the  instrument  as 
that  of  all  other  nations  combined.  The  first 
piano  produced  in  this  country  was  made  by 
Benjamin  Crehore,  at  Milton,  a  rural  village 
about  fifteen  miles  from  Boston,  as  early  as  the 
beginning  of  this  century.  The  house  where 
he  worked  is  still  standing,  and  it  is  to  be  re- 
gretted that  the  first  piano  does  not  also  remain. 
From  the  business  of  Crehore  grew  that  of 
Babcock,  Appleton  &  Babcock.  In  the  work- 
shop of  the  latter  named  firm  John  O.sborne 
learned  his  trade,  ana  he  taught  Jonas  Chick- 
ering, the  "father  of  the  American  piano."  In 
1S23  Mr.  Chickering  set  up  in  business  for 
himself,  and  exercised  his  ingenuity  in  improv- 
ing the  piano.  To  him  in  a  large  measure  is 
due  the  rapid  perfection  of  the  American  pi- 
ano, which  enabled  it  to  successfully  compete 
with  the  best  foreign  makes.  It  may  be 
added  that  during  the  early  pait  of  his  career 
Mr.  Chickering  had  a  partner  by  the  name  of 
Mackay,  a  sea  captain,  through  whose  efforts 
he  built  up  quite  a  trade  in  South  America. 
Many  of  his  instruments  are  still  to  lie  found  in 
Buenos  Ayres.  Mr.  Mackay  died  in  1841,  or 
was  lost  with  his  ship  at  sea.  Some  further 
idea  of  the  growth  and  development  of  piano 
making  in  the  United  States  may  be  gained  by 
consulting  the  histories  of  Chickering  &  K«,, 
STEINWAY  cV  Sons,  and  other  leading  piano 
firms. 

Pinner,  Max,  pianist,  was  bom  April 
14,  1851,  at  New  York.  In  1865  he  went  to 
Leipzig  and  entered  the  Conservatorium 
there.  Three  years  later  he  placed  himself 
under  Tausig  and  Weitzmann  at  Berlin  for  the 
study  of  the  piano  and  harmony.  In  iN'7j  he 
was  studying  with  Liszt,  and  afterwards  met 
with  success  as  a  pianist  at  Berlin,  Leipzig, 
Vienna  and  other  cities.  He  returned  to  New 
York  in  1878  and  settled  there  as  a  teacher. 
On  account  .if  ill  health  he  lias  lately  seldom 
appeared  in  public  as  a  performer. 

Pilgrim's  Progress,  The.  A  can- 
tata   in    three    parts.      The    libretto  is  founded 


HANDBOOK   OF   AMERICAN    MUSIC   AND   MUSICIANS. 


on  and  taken  from  Pmnyan's  "Pilgrim's  Prog- 
ress;" music  by   J.  C.  Beckel.     Published  in 

1882. 

Pitch.  In  Europe,  efforts  have  been 
made  to  establish  a  uniform  pitch,  and  with 
partial  success.  The  matter  has  been  agitated 
in  this  country,  but  without  producing  any- 
thing very  tangible  in  the  way  of  results. 
Some  impetus  was  given  to  the  movement  by 
a  meeting  of  musicians  and  musical  instru- 
ment manufacturers,  held  at  the  New  England 
Conservatory  of  Music,  Nov.  18,  1882.  The 
following  preambles  and  resolution  was 
adopted  : 

Whereas,  there  is  no  fixed  standard  of  pitch 
to  which  leaders  and  manufacturers  are  com- 
pelled to  conform  ;   and 

Whereas,  this  state  of  things  has  led  to  the  ; 
wiriest  diversity  in  tuning  instruments  and  1 
orchestras  ;   and 

Whereas,  the  pitch  has  gone  up  nearly  a  I 
tone  and  a  half  since  Handel's  time,  and  a  | 
quarter  of  a  tone  during  the  past  year  in 
Boston  ; 

Resolved,  that  we,  in  this  meeting  assembled, 
express  it  as  our  conviction  that,  first,  there 
ought  to  be  a  fixed  standard  pitch  ;  second, 
that  the  prevailing  pitch  ought  to  be  lowered  ; 
third,  that  we  unite  upon  260.2  vibrations  per 
second  for  the  middle  C,  as  being  the  pitch 
best  calculated  to  lead  to  the  most  desirable 
result,  and  that  we  will  use  our  endeavors  to 
make  this  movement  universal. 

The  report  was  prepared  by  a  committee 
consisting  of  Carl  Zerrahn,  Dr.  Louis  Maas, 
J.  C.  D.  Parker,  A.  Kielblock,  L.  W.  Wheeler, 
Edgar  A.  Buck,  and  Otto  Bendix.  Letters 
from  B.  J.  Lang,  Theodore  Thomas,  Mason  & 
Hamlin  Organ  and  Piano  Co.,  Hook  &  Has- 
tings, Hutchings,  Plaisted  &  Co.,  warmly 
endorsing  the  movement  were  read.  It  is 
to  be  sincerely  hoped  that  the  reforms  attempt- 
ed by  this  meeting  will  receive  public  encour- 
agement and  eventually  be  adopted.  As  will 
readily  be  seen,  the  pitch  recommended  by 
the  meeting  is  very  nearly  the  same  as  that 
which  is  fixed  by  law  in  France.  That  it  is 
the  best  one  which  could  have  been  fixed 
upon,  however,  is  far  from  certain.  A  standard 
which  makes  middle  C=2$b  would  be  better, 
as  it  disposes  of  any  fractions  in  the  octaves 
and  almost  exactly  agrees  with  the  classical 
pitch.  The  matter  is  still  being  agitated,  and 
must,  in  time,  lead  to  beneficial  results. 

Plain  and  Easy  Instruction.  Prob- 
ably the  first  practical  instruction  book  on 
singing     published      in      America.      The    full 


title  is  "A  very  Plain  and  Easy  Instruction  to 
the  Art  of  Singing  Psalm  tunes;"  and  the  bal- 
ance of  the  title  page  reads,  "with  the  Cantos 
or  Trebles  of  twenty-eight  Psalm  tunes,  con- 
trived in  such  a  manner  that  the  Learner  may 
attain  the  Skill  of  singing  them  with  the 
greatest  ease  and  speed  imaginable."  The 
work  was  issued  about  1712,  and  was  prepared 
by  Rev.  John  Tufts,  pastor  of  the  Second 
Church,  Newbury,  Mass.  Some  two  or  three 
years  later  he  issued  a  new  and  greatly  im- 
proved book,  containing  thirty-seven  tunes 
harmonized  in  three  parts.  In  it  he  attempts 
to  teach  the  learner  to  sing  by  using  letters  in 
the  place  of  notes.  Many  editions  were 
printed  and  sold,  which  would  seem  to  indi- 
cate a  great  popularity. 

Pond,  Sylvanus  Billings,  was  bom  in 
Worcester  County,  Mass.,  in  1792.  While 
still  quite  young  he  went  to  Albany,  N.  Y-, 
where  his  fondness  of  music  led  him  to  en- 
gage in  the  musical  instrument  business.  He 
was  at  first  alone  but  afterwards  associated 
himself  with  a  Mr.  Meacham,  under  the  firm 
name  of  Meacham  &  Pond.  In  1832,  upon 
invitation,  he  went  to  New  York  and  joined 
Firth  &  Hall,  and  the  name  was  changed  to 
Firlh,  Hall  &  Pond.  He  remained  with  the 
firm  many  years  (See  Pond,  W.  A.  &  Co.) 
Mr.  Pond  took  a  great  interest  in  Sunday 
schools,  and  soon  after  going  to  New  York 
connected  himself  with  the  Brick  Church 
(Presbyterian),  of  which  Rev.  Dr.  Spring  was 
so  long  pastor.  He  was  for  some  time  leader 
of  the  choir,  and  at  this  time  wrote  his  first 
Sunday  school  singing  book,  "Union  Melo- 
dies," which  was  very  successful.  Another 
one  of  his  works  was  the  "United  States  Psal- 
mody," for  choirs  and  singing  societies,  which 
also  had  a  large  sale.  He  was  at  one  time 
director  of  the  New  York  Academy  of  Music, 
and  afterwards  of  the  New  York  Sacred  Music 
Society.  His  music  is  almost  exclusively  sa- 
cred, and  includes  several  popular  hymn 
tunes,  among  which  are  "Armenia"  (1835) 
and  "Franklin  Square"  (1850).  In  1850  he 
retired  from  active  business,  and  died  in 
Brooklyn  in  1871,  respected  by  all  who  knew 
him. 

Pond,    William   A.    &    Co.,   New 

I  York.  About  1815  a  young  Englishman 
named    John    Firlh    commenced   business  at  8 


Warren  St.,   New    York,  as  a  manufacturer   of 


HANDBOOK    OF    AMERICAN    MUSIC   AND    MUSICIANS. 


139 


flutes  and  fifes.  He  learned  his  trade  with 
Edward  Riley,  also  an  Englishman,  who  be- 
gan  business  about  1812.  William  Hall,  anoth- 
er of  Riley's  pupils,  set  up  in  business  about 
1820,  in  Wo  aster  street.  Between  him  and 
Firth  there  existed  a  warm  friendship  (they 
married  sisters,  daughters  of  their  former  em- 
ployer), which  resulted,  in  1821,  in  their  form- 
ing a  copartnership  as  Firth  &  Hall  and  estab- 
lishing themselves  at  362  Pearl  street.  They 
were  prospered  and  steadily  built  up  a  very 
desirable  trade.  In  1830  they  added  to  their 
other  business  that  of  making  pianos,  and 
about  the  same  time  commenced  to  publish 
music  on  a  small  scale.  Late  in  1832  they 
were,  by  invitation,  joined  by  S.  B.  Pond, 
who  was  in  the  musical  instrument  business 
at  Albany,  N.  Y.  (See  Pond,  S.  B.)  The 
firm  then  became  Filth,  Hall  cS:  Pond,  and  the 
establishment  was  removed  to  I  Franklin 
Square,  which,  by  the  way,  was  the  first  pres- 
idential mansion,  and  is  still  known  as 
"Washington's  House."  Mr.  Pond,  after 
entering  the  firm,  took  charge  of  the  piano 
department.  This  seems  not  to  have  been 
very  profitable,  and  after  twenty  years  it  was 
disposed  of.  The  factory  was  at  this  time  lo- 
cated at  Williamsburg.  He  also  for  a  long 
time  wrote  much  of  the  music  which  they  pub- 
lished. In  1847  the  f~"m  of  Firth,  Hall  & 
Pond  was  dissolved.  Gen.  Hall,  withdrew, 
and  with  his  son,  James  F.  Hall,  commenced 
business  on  Broadway  as  William  Hall  &  Son. 
The  son  subsequently  joined  the  federal  army, 
and  the  father  after  a  few  years  retired  from 
business.  He  died  in  1873  (-^ee  Hall). 
After  Gen.  Hall's  withdrawal  the  firm  became 
Firth,  Pond  &  Co.,  the  company  consisting  of 
William  Pond  (for  many  years  head  of  the 
house)  and  John  Mayell,  brother-in  law  of  the 
elder  Pond.  In  1850,  S.  B.  Pond  retired  from 
business,  and  in  1856  the  firm  removed  to  1547 
Broadway.  The  name  was  again  changed  in 
1863,  Mr.  Firth  withdrawing,  who,  with  his 
son,  established  the  house  of  Firth,  Son  &  Co., 
bought  out  in  1867  by  C.  II.  Ditson  &  Co. 
It  then  became  William  A.  Pond  &  Co.,  which 
has  been  retained  to  the  present  day.  The 
firm,  until  very  recently,  consisted  of  Col. 
William  A.  Pond  and  his  son,  William  A. 
Pond,  Jr.  It  is  not  only  an  extensive  dealer, 
but  publishes  very  largely,  and  ranks  among 
the  leading  houses  of  the  United  States.      For 


Boosey  &  Co.,  the  English  publishers,  and 
other  foreign  firms,  it  is  the  accredited  agent 
in  this  country.  In  1878  its  immense  business 
was  removed  from  547  Broadway  to  25  Union 
Square.  The  head  of  the  house,  Col.  Wm.  A 
Pond,  very  recently  (Dec,  1885)  died. 

Poilte,  Lorenzo  da,  poet,  was  born 
March  10,  1740,  at  Ceneda,  in  the  Venetian 
States.  His  parents  were  very  poor,  but  at 
the  age  of  fourteen  he  entered  the  seminary  of 
his  native  town,  and  after  studying  five  years 
went  to  Venice  to  seek  his  fortune.  There  he 
had  a  number  of  amorous  difficulties,  and 
being  compelled  to  leave  went  to  Treviso. 
From  Treviso  (which  he  was  also  forced  to 
leave)  he  went  to  Vienna,  becoming  court 
poet  in  the  place  of  Metastasio,  who  had  lately 
died.  While  holding  this  post  he  wrote  the 
librettos  of  Mozart's  three  operas,  "Figaro," 
"Don  Giovanni,"  and  "Cosi  fan  tutte."  Leav- 
ing Vienna  after  the  Emperor's  (Joseph  li) 
death  he  went  to  Trieste,  where  he  married 
an  English  lady,  and  thence  in  1792  to  Paris. 
London  was  his  next  stopping  place,  and  there 
he  was  engaged  as  poet  of  the  Italian  opera. 
On  account  of  financial  trouble  he  set  sail  for 
the  United  States,  and  landed  at  Philadelphia, 
May  30,  1803.  He  proceeded  to  New  York, 
and  was  successful  as  a  teacher  of  Italian.  In 
1811  he  went  to  Sunbury,  Pa.,  to  manufacture 
liquors,  but  this,  like  his  other  business  ven- 
tures, j; roved  a  failure,  and  he  returned  to  New 
York.  His  last  bright  day  was  on  the  arrival 
of  the  Garcia  family,  when  "Don  Giovanni" 
was  given.  He  died  at  New  York,  Aug.  17, 
1839,  in  abject  misery,  the  natural  result  of  the 
life  which  he  led.  It  was  chiefly  through  his 
exeitions  that  the  fine  opera  house  at  the  corner 
of  Church  and  Leonard  streets  was  erected. 
The  building  was  opened  Nov.  18.  1833,  and 
destroyed  by  fire  Sep.  23.  1839. 

Praise  to  God.  An  oratorio  by  Geo. 
F.  Bristow — one  of  his  most  important  works. 
It  was  produced  in  i860,  and  thrice  performed 
— the  third  time  by  the  New  York  Harmonic 
Society  at  the  Academy  of  Music,  Brooklyn, 
for  the  benefit  of  the  Old  Ladies'  Home,  and 
netted  #2000. 

Pratt,  Silas  G.,  was  bom  Aug.  13,  1846, 
at  Addison,  Vt.  At  a  very  early  age  his  par- 
ents removed  West,  locating  on  a  farm  near 
Plainlield,  111.  While  still  young  his  talents 
manifested  themselves  in   a    decided    manner. 


140 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


In  1857,  on  account  of  his  father's  financial 
troubles,  he  went  to  Chicago  and  became  a 
c'e.k  in  the  house  of  H.  .M.  Higgins.  He 
subsequently,  after  serving  a  year  with  Root 
&  Cady,  was  engaged  by  Lyon  &  Healy  as 
their  chief  clerk.  He  took  up  the  practice  of 
the  piano,  at  which  he  dilligently  labored. 
His  first  composition,  "Lorena  Schottisch," 
was  written  at  the  age  of  fourteen.  By  exer- 
cising the  greatest  economy,  he  was  enabled, 
in  1868,  at  the  age  of  twenty-two,  to  realize 
the  long-cherished  desire  of  going  abroad  to 
secure  a  good  musical  education.  Under  the 
care  of  Bendel  at  Merlin,  and  afterwards  of 
Kullak,  he  made  rapid  progress.  Full  of  en- 
thusiasm for  art,  it  was  but  natural  that  he 
should  overdo,  ar.d  as  a  consequence  he  lost 
the  use  of  his  right  wrist.  This  was  a  severe 
blow  and  destroyed  his  hopes  of  becoming  a 
virtuoso,  but  he  soon  found  a  consolation  in 
composing.  Incessant  study  and  work  at  la.->t 
forced  him  to  take  a  tour  for  the  benefit  of  his 
health,  during  which  he  visited  Leipsic,  Eise- 
nach, Coburg,  Nuremberg,  Regensburg  and 
Munich.  At  the  latter  place  he  made  the  ac- 
quaintance of  Gung'l,  the  celebrated  waltz 
composer.  While  there  he  also  began  his 
opera  of  "Antonio,"  which  was  not  finished 
until  1874.  Upon  returning  to  Berlin  he 
p laced  himself  under  F.  Kiel  for  the  study  of 
counterpoint,  and  during  the  winter  his  first 
symphony  was  completed.  The  ensuing  sum- 
mer was  spent  at  the  baths  of  Gastein  and  in 
a  trip  through  Switzerland.  With  the  winter 
he  again  returned  to  Berlin,  and  soon  after 
sailed  for  his  native  country.  His  first  public- 
appearance  here  was  at  Chicago,  in  April, 
1572,  when  he  gave  a  conceit  chiefly  com- 
posed of  his  own  piano  and  vocal  works.  The 
great  fire  of  the  October  before  had  made  the 
city  a  poor  place  for  an  artist,  and  he  was 
forced  to  accept  the  clerkship  which  he  had 
relinquished  four  years  before.  He  attended 
the  second  great  "Peace  Jubilee"  at  Boston, 
having  charge  of  the  Chicago  musicians.  The 
first  movement  of  his  symphony  \v;:s  per- 
formed and  well  received.  Soon  after  he  or- 
ganized the  Apollo  Club.  During  the  winter 
of  1873-74  he  made  a  short  concert  tour,  after 
which  he  took  up  teaching.  In  the  summer 
be  re-wrote  or  completed  the  opera  of  "Anto- 
nio," which  was  successfully  produced  under 
the  direction  of  Hans  Balatka.     Early  in  1875 


lie  again  went  to  Europe  for  the  purpose  of 
study  and  observation.  After  attending  the 
rehearsals  of  Wagnei's  trilogy  at  Bayreulh,  in 
the  fall  of  the  same  year,  lie  went  to  Weimar 
and  gave  a  recital  before  Liszt  and  other  dis- 
tinguished musicians.  His  "Anniversary 
Overture"  was  performed  at  Berlin,  July  4, 
1876,  and  soon  after  at  Weimar.  Owing  to 
financial  troubles  he  accepted  the  position  of 
consular  clerk,  but  continued  his  labors  as  ;i 
composer.  Having  achieved  several  triumphs 
he  left  Berlin  for  Paris,  and  thence  proceeded 
to  London,  where  some  of  his  compositions 
were  performed.  He  returned  to  the  United 
States  in  1877,  and  has  since  resided  at  Chi- 
cago as  teacher  and  composer.  His  latest 
large  work  is  the  opera  of  "Zenobia"  (see 
ZeNOBIA),  which  was  produced  upon  the 
stage  at  McVicker's  Theatre,  Chicago,  and 
fairly  well    received.     The    following  is  a  list 


ith    the    year    of 


of  Mr.  Pratt's  wot 
duction  : 

Lorena  Schottisch, 

Eclipse  Waltz, 

Matinee  Polka, 

Shakesperian  <  irand  March. 
I  The  Sigh.      Nocturne. 
I  The  Smile.      Polka. 
,  Grand  March  Heroique, 
!  Orchestra  Galop, 

Ola.     Serenade  impromptu. 
I  The  Carousal.      Paraphrase  on    "We 
won't  go  home  till  morning." 

Goodbye, 

Reve  d'esprit.     Valse  characteristic. 

Primeur  Nocturne,  Bel 

Orb  of  Night.     Waltz. 

Gone.      Impromptu. 

Shadow  Thoughts.     3  impromptus. 

1.  Hidden   Whispers, 

2.  Silent  Complaint, 

3.  Mazurka. 

Symphonie  sketch,    "Magdalena's 
Lament."    For  orchestra  (Ms. )    ' 

Oh,  Let  Me  Love  Thee.      Song. 

Antonio.    Opera.   (1st  sketch,  Ms.)  ' 

La  Douleur  .Mazurka, 

Mazurka  Caprice, 

First  Grand  Symphony  (Ms.) 

Dream  Wanderings.   Paraphrase  on 
"The  Old  Folks  at  Home." 
I  The  Smile.     Song. 

Rainy  Day.      Vocal  quartet. 

Dream  Visions.      Vocal. 

Wanderer's  Song, 

Soul  Longings.      Strings  and  piano. 

Retrospection.     Song. 

Homage  to  Chicago.      March. 

Fantasie  Caprice, 

First  grand  polonaise, 


1S61 
1862 

1865 
1866 

i860 
iS(.(. 
1867 
1867 
1867 

1867 
1868 
1 868 
[869 
1870 
1870 
1870 


1870 
1870 
187,. 
1871 
1871 
1 87 1 

187. 
1 87 1 
1872 
1872 
1872 
1875 
1873 
1873 
1874 
1874 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Opera  (if  "Antonio"  (completion),  1874 

Grand  Valse  Etude,  1875 

Fant.isie  Impromptu,  1875 

Two  Rornanzas.     Piano.  Berlin,  1876 

Opera  of  "Antonio"  (scoring),  Weimar,  1876 
Pansy  and  the  Maid.     Ballad.  "         1876 

Mv  Own  Ideal,  "  1876 

Anniversary  Overture  (orch.,  Ms.)  "  1876 

Prodigal  Son.     Symphony.  "         1876 

Winds  of  the  Night.    Male  cho.      Berlin,  1877 
Long  Ago.      Song.  Loudon,  1877 

Still  dwells  my  Heart  with  Thee,      "  1877 

Variations,    "Sweet  bye  and  bye,"  1S77 

Canon.     String  orchestra.    (Ms.)  1877 

Never  Again.      Song.  Chicago,  1878 

Zenohia  (commenced),  "         1878 

Second  grand  polonaise.     (Ms.)       "         1S78 
Stay  at  Home.     Song.  "  1878 

Sunset  Impromptu.  (Ms.)  Columbus,  Ky.  1878 
Mazurka  Andante,  Chicago,  1878 

Mazurka   Minuet,  187S 

Pastoral  for  organ.      (Ms.)  1S79 

Inca's  Downfall.      Cantata  for  solos  and 

chorus.      (Ms.)  1879 

Nocturne  Impromptu,  '879 

Caprice  Fantastique.     (Ms.)  1879 

My  Only  Own.      Song.  ^79 

Love  in  Spring.     Song.  1879 

Serenade  for  string  orchestra,  !^79 

Wedding  Polonaise,  1879 

Baladine.     (Ms.;  op.  40).  1880 

Waltz  Graciuse,  1880 

Zenobia  (scoring  and  completion)  op.  41,  1880 
Waltz  Semplice,  1880 

Antique  minuet  and  pastoral,  1880 

Meditation  Religeuse.      Piano  (op.  42),      1881 
In   Venice.      Barcarolle.      Piano.  1881 

Overture,    "Zenobia,"  1881 

Hymn  to  Night.     Song.  1882 

Court  Minuet,  1882 

"The  sail  auf  Wielerscheu."      Song.  1882 

Fresser,  THEODORE,  was  born  of  German 
parents  at  Pittsburgh,  Pa.,  July  3,  1848.  He 
early  evinced  a  great  love  of  music,  which 
was  duly  encouraged.  In  1864  he  became  a 
music  clerk  in  a  store  in  his  native  city,  of 
which  he  rose  to  be  manager  in  four  years. 
While  obtaining  a  collegiate  education  he 
dilligently  studied  music.  He  began  his 
career  as  teacher  at  Ada,  O.,  in.  1869.  Being 
unsatisfied  with  both  his  surroundings  and  his 
attainments,  he  went  to  Xenia,  O.,  and  entered 
a  conservatory  there.  After  three  years  more 
of  teaching,  during  which  time  he  had  charge 
of  the  musical  department  in  a  female  semin- 
ary, he  went  to  Boston  and  studied  under  the 
best  teachers  there.  In  1876  he  look  charge 
of  the  musical  department  of  the  Ohio  Wes- 
leyan  University.  He  subsequently  went  to 
Europe,  where  he  faithfully  studied  for  two 
years.      On    his    return  lie  was  appointed  pro- 


fessor of  music  in  Hollins  Institute,  Virginia. 
In  18S3  he  established  at  Lynchburgfc,  Va., 
The  Etude,  a  monthly  publication  for  teachers 
and  students  of  !he  pir.no.  The  following 
year  he  removed  to  Philadelphia,  where  The 
Etude  is  now  published  and  where  he  resides, 
devoting  much  time  to  teaching.  We  must 
not  forget  to  add  that  to  Mr.  Presser  is  due  the 
inception  of  the  Music  Teachers'  National 
Association,  and  its  safe  passage  through  the 
critical  period  of  its  existence  is  mainly  the 
result  of  his  untiring  energy  and  ability.  As 
a  teacher  he  is  remarkably  successful,  having 
a  rare  faculty  both  of  interesting  the  pupils  and 
imparting  instruction.  He  has  some  sixty 
etudes  in  manuscript  which  he  has  for  years 
used  in  private  teaching,  while  his  published 
piano  studies  are  received  with  favor  by  teach- 
ers everywhere.  He  is  the  translator  and  pub- 
lisher of  Urbach's  Prize  Pianoforte  Method, 
and  has  rendered  available  to  American  stu- 
dents other  important  works.  Mr.  Presser  is 
one  of  the  most  indefatigable  of  our  musical 
workers  and  for  this  alone  deserves  honorable 
mention.  As  he  is  yet  comparatively  young, 
he  will  probably  live  to  accomplish  much 
more  for  his  chosen  art. 

Provost,  Eugene,  was  born  Aug.  23, 
1809,  at  Paris,  and  studied  at  the  Conserva- 
toire. He  obtained  the  "Prix  de  Rome."  and 
after  his  return  from  Italy  produced  the  2-act 
opera  of  "Cosimo"  at  the  Opera  Comique 
with  considerable  success.  After  his  marriage 
with  Eleonore  Colon  he  went  to  Havre  as 
conductor  of  the  theatre  there.  In  1838  he- 
went  to  New  Orleans,  where  he  was  unusually 
successful  as  singing  master,  also  holding  tin- 
post  of  conductor  of  the  French  theatre.  In 
this  capacity  he  produced  several  dramatic 
pieces  of  his  own,  among  them  "Esmeralda," 
which  contains  some  striking  music.  During 
1842  he  was  leader  of  the  orchestra  at  Niblo's 
Garden,  New  York.  When  the  Civil  Wat- 
broke  out  Prevost  went  to  Paris,  and  was 
director  of  the  concerts  of  the  Champs  Elysees. 
He  was  recalled  to  New  Orleans  by  his  son, 
Leon,  in  1807,  and  died  there  in  July,  1872. 
Besides  his  dramatic  pieces  he  wrote  consider- 
able sacred  music.  He  was  given  the  cross 
of  the  Order  of  Charles  III  by  the  Queen  of 
Spain. 

Prince,  G-eorge  A.  A:  Co.,  Buffalo, 
N.  Y.     This  firm  of  melodeon  and  retd  organ 


14: 


HANI  (HOOK.    OF    AMERICAN    MUSIC    AM)    MUSICIANS. 


manufacturers  was  established  about  1S40,  by 
C-eorge  A.  Prince.  In  1S46  Mr.  Prince  took 
out  patents  for  several  improvements  in  nie- 
lodeons,    and    was   at  this  time  employing  150 

men  and  turning  out  75  instruments  per  week. 
In  1847  Emmons  Hamlin  (then  a  workman  in 
the  manufactory  of  Prince  &  Co.)  discovered 
that  the  tone  of  the  reeds  of  a  melodeon  was 
greatly  improved  by  slightly  bending  and 
twisting  the  tongues.  This  gave  a  renewed 
impetus  to  their  manufacture.  Mr.  Hamlin 
became  a  member  of  the  firm  of  Mason  & 
Hamlin  in  1854.  After  the  production  of  the 
reed  organ,  about  1861;  Prince  &  Co.  began  to 


make  them  in  connection  with  their  melo- 
deons.  All  their  instruments,  of  which  they 
manufactured  nearly  60,000,  are  characterized 

by  a  line  tone  and  great  lasting  qualities.  The 
writer  has  often  played  upon  one  of  their  ear- 
liest melodeons  (now  40  years  old)  and  the 
tone,  though  not  powerful,  of  course,  there 
being  only  one  set  of  reeds,  is  very  sweet  and 
mellow.  As  far  as  musical  capacity  is  con- 
cerned, the  instrument  is  just  as  good  as  when 
first  made.  The  firm,  one  of  the  leading  ones 
in  this  country,  became  embarrassed  during 
the  financial  crisis  which  has  just  passed,  and 
about  1875  was  forced  into  bankruptcy. 


Q 


Qltig'g',  J-  Travis,. the  well-known  musi- 
cal writer  and  editor  of  the  American  Music 
Journal,  is  a  native  of  Philadelphia,  where  he 
began  his  career  as  a  journalist.  He  has  been 
identified  with  many  musical  enterprises,  no- 
tably the  inauguration  of  the  Thomas  orchestral 
concerts  in  1876  at  the  F'orrest  Mansion  Garden, 


I  Philadelphia.  He  has  also  written  several 
I  popular  songs  and  light  compositions  for  the 
piano.  At  various  times  he  has  been  engaged 
I  as  musical  editor  upon  the  St.  Louis  Critic, 
I  the  Kansas  City  Times,  the  Chicago  Herald, 
!  and  Freund's  Music  and  Drama,  besides  con- 
;  tributing  for  leading  papers  in  his  native  citv. 


R. 


Read,  DANIEL,  one  of  the  eaily  American 
psalmodists,  was  born  in  Connecticut  (pre- 
sumably at  or  near  New  Haven,  where  he  was 
long  a  resident)  in  1757.  His  first  work  was 
(he  "American  Singing  book,  or  a  New  and 
Easy  Guide  to  the  art  of  Psalmody,  "  issued  in 
1 77 1 .  In  1793  he  published  the  "Columbian 
Harmony,"  consisting  entirely  of  church  mu- 
sic, and  in  1S06  the  "  Litchfield  Collection," 
containing  112  pages  of  similar  music,  much 
of  which  was  original.  Read's  music  may  be 
classed  with  that  of  Billings  and  Holden,  and 
though  it  contains  some  crudities,  it  is  full  of 
life  and  vigor.  Some  of  his  tunes  are  in  gen- 
eral use  at  the  present  day  and  are  likely  to 
live  for  a  long  time  to  come.  "Windham," 
"  Sherburne,"  "  Russia,"  "  Stafford,"  and 
"Lisbon,"  are  known  to  almost  every  church 
singer.  He  died  at  New  Haven  in  1836.  At 
a  concert  of  ancient  music  given  at  New  Haven 
in  May,  1853,  the  pitch-pipe  originally  be- 
longing to  Read  was  used,  and  much  of  the 
music  rendered  was  of  his  composing. 

Records  of  the  New  York  Stage. 

The  title  of  a  valuable  work  comprising  a  his- 
tory of  the  New  York  stage  from  1750  to  i860, 
giving  the  date,  and  in  most  cases  the  cast,  of 
all  dramatic  works  produced  thereon.  It  was 
edited  by  Joseph  N.  Ireland,  now  (1886)  a 
resident  of  Bridgeport,  Conn.,  and  issued  to 
subscribers  at  $15  for  the  8vo.  and  ^25  for  the 
4to.      The  first  volume  appeared  in  December, 

1866,  and  the  second   one    in     April    or    May, 

1867.  Part  of  the  edition,  which  numbered 
only  200  copies,  was  sold  to  non-subscribers 
at  S25  and  ^40.  The  work  has  now  become 
rare  an. I  commands  quite  a  premium.  Could 
there  be  a  sufficient  demand,  a  second  edition, 
bringing  events  down  to  the  present  time, 
would  probably  be  issued.  It  is  to  be  regret- 
ted that  the  work  is  not  more  accessible,  and 
that  similar  histories  of  the  stage  in  the  prin- 
cipal cities  of  the  United  States  have  not  been 
written. 

Redemption  Hymn,   in    E  Hat,   for 

contralto  solo,  chorus  and  accompaniment,  l>\ 


J.  C.  D.  Parker.  Words  from  the  51st  chap- 
ter of  Isaiah.  Composed  in  1877,  and  given 
by  the  Handel  and  Haydn  Society  of  Boston. 
Since  performed  by  musical  societies  all  over 
the  country. 

ReeAes,  David  Walus,  wt.s born  Feb. 
14,  1838,  at  Oswego,  N.  V.  His  early  musi- 
cal advantages  were  few,  but  when  fifteen 
years  old  he  was  apprenticed  to  Thomas  Can- 
ham,  a  hand  instructor,  with  whom  he  dilli- 
gently  studied  the  violin  and  the  cornet.  At 
the  age  of  nineteen  he  became  leader  of  a 
circus  band.  Soon  after  he  went  to  New 
York,  joining  I  )odworth's  Orchestra,  and  sub- 
sequently Rumsey  and  Newcomb's  Minstrels. 
With  the  latter  company  he  went  to  England, 
where  he  was  presented  with  a  tine  cornet  by 
Henry  Distill.  In  1862  he  became  a  member 
of  Dodworth's  Band  in  New  York,  and  was 
the  first  to  perform  Levy's  celebrated  "Whirl- 
wind  Polka"  in  America,  astonishing  every- 
one by  his  triple  tongueing,  the  secret  of 
which  he  learned  in  London.  In  February, 
1S66,  be  accepted  the  position  of  leader  of  the 
American  Band,  Providence,  R.  I.,  which  he 
still  (1885)  retains.  He  has  brought  the  or- 
ganization up  to  a  high  standard.  Mr.  Reeves 
has  frequently  appeared  in  Boston,  New  York 
and  other  cities  as  soloist,  being  an  excep- 
tionally fine  player.  His  compositions  are 
mostly  for  military  bands.  They  exhibit  many 
musicianly  qualities,  and  some  of  them  have 
obtained  a  wide  popularity. 

Remmertz,  FRANZ,  bass  singer,  is  a  na- 
tive of  Diisseldorff,  Germany,  where  he  was 
born  probably  about  1845.  It  was  designed 
that  he  should  be  an  architect,  but  music 
proved  the  greater  attraction,  and  he  removed 
to  Munich  to  cultivate  his  talents.  He  made 
his  debut  as  an  operatic  singer,  but  has  con 
lined  himself  mostly  to  the  concert  room.  In 
1869  he  came  to  New  York,  where  he  has 
since  resided.  He  sang  at  the  New  York, 
Cincinnati  and  Chicago  May  Festivals  of 
1SS2,  and  has  filled  engagements  in  nearlj 
ever\    part   of    the    country,  earning  a  national 


144 


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of  rugged, 
:haracterizi 


reputation.  His  voice  is 
quality,  and  his  singing 
ergy  and  force. 

Ricliardsow,  Nathan,  was  born  at 
South  Reading,  Mass.,  in  1823."  He  studied 
music  for  several  years  with  Dreyschock  at 
Prague.  After  his  return  to  the  United  States 
he  prepared  and  published  his  "Modern 
School  for  the  Pianoforte,"  which  was  little 
more  than  a  transcript  of  his  lessons  with  bis 
teacher.  The  criticisms  which  it  evoked  led 
him  to  prepare  his  "New  Method  for  the  Piano- 
forte" (Boston,  O.  Ditson&  Co.),  which  has 
had  a  popularity  equaled  by  no  other  musical 
instruction  book.  The  sales  have  thus  far 
footed  up  to  over  500,000 
amount  to  about  20,000  copies  annually, 
lie  was  one  of  the  founders  of  the  firm  of  Rus- 
sell &  Richardson,  music  dealers,  Boston. 
John  W.  Moore,  in  his  "Dictionary  of  Musical 
Information,"  states  that  Richardson  died  in 
Paris  (whither  be  had  gone  on  account  of 
failing  health),  Nov.  19,  1855,  but  W.  S.  B. 
Mathews  in  "How  to  Understand  Music" 
gives  the  year  as  1858.  This  is  probably 
nearer  correct,  as  the  "New  Method"  was 
not  published  until  1851). 

KU'O,  FENELON  B.,  Doctor  of  Music,  was 
born  at  Green,  Ohio,  Jan.  2.  1841.  He  was 
educated  at  Hillsdale  College,  Mich.,  after 
which  he  entered  the  Boston  Music  School, 
graduating  therefrom  in  1863.  In  1867  he 
went  to  Germany  and  entered  the  Conserva- 
torium  at  Leipzig.  After  two  years  of  study 
there  he  returned  to  the  United  States,  and 
was,  in  1S71,  appointed  professor  of  music  in 
Oberlin  College,  Oberlin,  O.,  and  director  of 
the  Conservatory  connected  with  that  institu- 
tion. He  is  still  (June,  1886)  located  at 
( Jberlin,  where  he  has  done  much  to  elevate  | 
the  standard  of  music.  His  time  is  entirely 
devoted  to  teaching  and  looking  after  the  in-  ] 
terests  of  the  large  school  which  is  in  his 
charge.  The  degree  of  Doctor  of  Music  was 
conferred  on  him  by  Hillsdale  (O.)  College,  : 
and  that  of  A.  M.  by  Oberlin  College. 

Richings-Bernard,  Mme.  Caroline,  ; 

was  born  in  England  in  1827,  and  came  to  the 
United  States  when  very  young.  She  made  j 
her  Jrbnt  as  a  pianist    at    Philadelphia,    Nov.  j 


30,  1847,  and  in  1852  sang  for  the  first  time 
in  "La  Fille  dll  Regiment."  She  sang  in 
English  and  Italian  opera  throughout  the 
country  with  much  success  until  1867,  when 
she  married  a  tenor  singer,  P.  Bernard,  in 
consequence  of  whose  managerial  and  finan- 
cial inability  she  soon  lost  what  money  she 
had  previously  earned.  In  1873  she  organ- 
ized an  "Old  Folks  Concert  Company,"  which 
proved  a  failure.  After  this  she  taught  at 
Baltimore  and  Richmond.  She  v/as  the  prin- 
cipal singer  of  the  "Mozart  Association"  at 
the  latter  place,  which  annually  produces  a 
number  of  operatic  works.  Her  last  public 
...  appearance  was  in  August,  1881,  when  she 
copies,   and    still    sang  in  an   operetta  of  her  own,  "The  Duch- 

voice    was   a  tine 
good    acting.      She 

4: 


ess,"    at    Baltimore.      lit 
one  and  supplemented  by 


1S82, 


fOtie  account  say, 
mt  1830. 


bom  nt   Gloucester 


rlied  of  small-pox  at  Richmond,  Jan. 
lamented  by  all  who  knew  her. 

Kip  Vail  Willklo.  An  American  ro- 
mantic opera.  The  libretto  is  by  J.  H.  Wain- 
wright ;  the  music  by  George  F.  Bristcw. 
First  produced  at  Niblo's  Garden,  New  York, 
Sep.  27,  1855,  by  the  Pyne-Harrison  English 
opera  company,  after  which  it  was  performed 
for  30  consecutive  nights.  It  was  translated 
into  Italian,  provided  with  new  scenery,  cos- 
tumes, etc.,  and  was  on  the  eve  of  a  revival 
with  Miss  Clara  Louise  Kellogg  as  the  hero- 
ine, when  the  Academy  of  Music  was  de- 
stroyed by  lire  in  1865.  With  the  exception, 
perhaps,  of  F2ichberg's  "Doctor  of  Alcanla- 
ra,"  it  achieved  a  success  equaled  by  no  other 
American  work,  and  deserves  more  recogni- 
tion at  the  hands  of  our  ir/tpresarii. 

Kilter,  Dr.  Frederic  Louis,   was  born 

at  Strassburg  in  1834.  His  father  was  of 
Spanish  extinction,  and  the  family  name  was 
originally  Caballero.  He  commenced  his 
studies  at  an  early  age  with  Hauserand  11.  M. 
Schletterer,  and  when  sixteen  he  was  sent  to 
Paris,  where  they  were  continued  under  the 
care  of  his  cousin,  Georges  Kastner.  Soon 
after  he  went  to  Germany,  and  made  dilligent 
use  of  his  time  while  there.  In  1852,  being 
then  eighteen,  he  returned  to  Lorraine,  where 
he  was  appointed  professor  of  music  in  the 
Protestant  seminary  of  Fenestrange.  Such 
were  the  representations  made  by  some  of  the 
family  who  had  settled  in  the  United  States, 
he  was  induced  to  come  to  this  country.  For 
several  vears  he  resided   in    Cinninnati,    con- 


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'45 


tributing  much  to  the  musical  life  and  ad- 
vancement of  taste  in  that  city  by  his  enthu- 
siasm. He  formed  the  "Cecilia"  (choral) 
and  "Philharmonic"  (orchestral)  societies, 
which  produced  for  the  first  time  in  America 
a  number  of  important  works.  In  1X62  he 
went  to  New  York,  where  he  became  conduc- 
tor of  the  Sacred  Harmonic  Society — a  post 
which  he  retained  for  eight  years — and  of  the 
Arion  Choral  Society  (male  voices).  He  or- 
ganized and  conducted,  in  1867,  the  first  musi- 
cal festival  held  in  the  city,  and  during  the 
same  year  received  the  appointment  of  pro- 
fessor of  music  and  director  of  the  musical 
department  of  Vassar  College,  Poughkeepsie, 
N.  Y.,  whither  he  removed  in  1874.  He  still 
(May,  18S6)  holds  the  position.  The  degree 
of  Doctor  of  Music  was  conferred  on  him  by 
the  University  of  New  York  in  1874. 

Dr.  Ritter's  literary  labors  include  articles 
on  musical  topics,  printed  in  French,  German, 
and  English  periodicals,  and  several  books. 
His  most  important  work  is  "A  History  of 
Music  in  the  Form  of  Lectures,"  published  at 
Boston  (Ditson  &  Co.);  vol.  1,  1870;  vol.  2, 
1874.  A  second  and  much  enlarged  edition 
has  appeared  in  London  (W.  Reeves).  He 
edited  the  English  edition  of  "Das  Reich  der 
Tone" — The  Realm  of  Tones  (Schuberth  & 
Co.,  New  York,  1883) — and  wrote  the  Appen- 
dix, containing  short  biographies  of  American 
musicians.  His  new  books,  "Music  in  Eng- 
land" and  "Music  in  America"  (Chas.  Scrib- 
ner's  Sons,  New  York)  were  issued  in  Nov., 
1883.  As  a  composer,  he  may  be  classed 
with  the  modern  Franco-German  school.  The 
following  is  a  list  of  his  works  : 
Op.    1.   "Hans,"  cyclus  cf  Persian  songs. 

"     2.    Preambule  Scher::o.      Piano. 

"     3.   Ten  children's  songs. 

"     4.   Fairy  Love. 

"     5.   Eight  piano  pieces. 

"     o.   Six  songs. 

"      7.   Five  choruses.      Male  voices. 

"     8.    Psalm  23rd.     Female  voices. 

"    10.    Five  songs. 

"   11.   Organ  fantasia  and  fugue. 

"    12.   Voices  of  the  Night.      Piano. 

"  13.  Dirge  for  Two  Veterans.  Poem  by 
Walt  Whitman,  with  melodramatic 
music  for  the  piano. 

"  14.  The  95th  Psalm.  For  female  voices, 
with  organ  accompaniment. 

"    15.   Six  songs. 

"    16.    Suite  for  Pianoforte. 

"  17.  The  4th  Psalm.  For  baritone  solo, 
chorus,  and  orchestra. 


I  Ten  Irish  melodies  with  piano  accompani- 
ment;    "A  Practical  Method    for  the    Instruc- 

-  tion  of  Chorus  Classes,"  in  2  parts  ;    "O  Salu- 

j  taris,"  baritone  solo  and  organ;  "Ave  Maria," 

I  mezzo-soprano  solo    and    organ  ;     "Parting," 

I  song  for  mezzo-soprano  voice;  ]]  3  sympho- 
nies, A,  E  minor  and  E  flat  ;  "Stella,"  poeme- 

I  symphonique  d'apres  Victor  Hugo;   overture, 

'"Othello;"  concerto  for  violoncello  and  or- 
chestra ;    concerto  for    piano    and    orchestra ; 

!  fantasia  for  bass  clarinet  and  orchestra  ;    Sep- 

j  tette -serenade,  for  flute,  horn  and  string  quin- 
tet;    string  quintet;    several     string   quartets; 

;  the  46th  Psalm,   for  soprano  solo,    chorus   and 

j  orchestra,  first  performed    at    the    New    York 

J  festival  of  1867. 

All  works  to  the  sign,    ]]  ,    have  been  pub  - 

:  lished  ;    the    rest   still    remain   in  manuscript. 

;  Many  of  the  larger  ones  have  also  been  ren- 
dered by  the  Philharmonic  societies  of  New 
York  and  Brooklyn. 

FANNY  RaymOND-Ritter,  wife  of  the  pre- 
ceding, is  well  known  as  the  author  or  trans- 
lator of  several  musical  works.  She  has 
brought  out  translations  of  Ehlert's  "Letters 
on  Music"  (Ditson  &  Co.)  and  of  Schumann's 

I  essays  and  criticisms,  "Music  and  Musicians;" 
and  written   two   pamphlets,    "Some    Famous 

j  Songs,"  an  art  historical  sketch,  and  "Woman 
as  a  Musician."      The    latter    three    are    pub- 

I  lished  by  Schuberth  &  Co. 

Itiv^-Kiug'  (pronounced  rcc-vay}  Julie, 

I  generally  conceded  to  be  one  of  the  first 
pianists  in  America  and  equaled  by  few  of  her 
sex   in    the    world,  was  born  Oct.  31,   1857,  at 

j  Cincinnati,  O.  Her  genius  for  music  was 
inherited  from  her  mother,  Mine.  Caroline 
Rive,  an  eminent  teacher  (See  succeeding 
sketch),  and  became  evident  when  she  was 
little  more  than  an  infant.  Her  mother, 
therefore,  carefully  instructed  her  in  the  art 
from  the  first,  and  to  this  fact  much  of  her 
present  success  may  be  attributed.  So  rapid 
was  her  progress  that  before  attaining  the  age 
of   eight   years    she  appeared  in  public  at  one 

;  of  her   mother's  conceits,  playing  Thalberg's 

■  "Transcription  of  Themes  from  'Don  Juan.'  " 
Soon  after  she  went  with  her  mother  to  New 
York,  where  she  studied  under  Wm.  Mason, 
S.  B.  Mills,  Francis  De  Korbay,  and  Pruckner_ 
In  order  to  complete  her  education  she,  at  the 

j  age  of  fifteen  years,  went  to  Europe,  receiving 
instructions  from  Reinecke  at  Leipzig,    Blass- 


•4° 


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man  and  Kischpieter  of  Dresden,  and,  finally, 
from  Liszt  at  Weimar.  She  made  her  profes- 
sional achat,  under  Reinecke's  direction,  at 
one  of  the  Euterpe  concerts,  Leipzig,  having 
attained  her  seventeenth  year,  before  a  highly 
cultured  audience.  On  this  occasion  she 
played  Beethoven's  third  concerto  and  Liszt's 
second  rhapsodie,  and  was  received  with  such 
enthusiasm  as  to  almost  create  a  furore. 
Seldom  has  so  young  an  artist  gained  such  a 
signal  victory  upon  first  appearance.  Just 
as  she  was  about  arranging  for  a  tour  of  Europe 
she  was  suddenly  recalled  to  the  United  States 
bv  the  death  of  her  father,  who  was  killed  in 
a  railroad  accident.  Her  American  reputation 
dates  from  her  hist  appearance  in  Cincinnati, 
during  the  winter  of  1873-74.  It  was  greatly 
increased  by  her  appearing  at  a  concert  of  the 
Philharmonic  Society,  New  York,  in  the 
spring  of  1875,  when  she  played  Liszt's  con- 
certo in  E  flat  and  Schumann's  "Faschings- 
schwank"  (op.  2b),  a  very  severe  task  for 
any  player.  The  following  winter  she 
played  Beethoven's  5th  concerto  at  the  Phil- 
harmonic concerts,  and  was  received  with 
every  possible  token  of  appreciation.  Her 
first  appearance  in  Chicago  was  during  the 
second  season  of  the  Apollo  Club,  at  the 
Methodist  Episcopal  Church.  There  her  tri- 
umph was  even  more  decided  than  it  had 
been  at  any  other  place.  During  the  last 
twelve  vears  she  has  performed  at  upwards  of 
1800  concerts  and  recitals.  Nearly  every 
important  musical  society  in  this  country  and 
Canada  has  engaged  her  one  or  more  times  as 
soloist,  and  she  has  played  in  all  the  principal 
cities.  For  some  time  alter  leaving  Cincin- 
nati she  made  Chicago  her  home,  but  now 
(May,  1886)  resides  at  New  York,  where  she 
holds  a  distinguished  position.  Nine  years 
ago  she  was  married  to  Mr.  Frank  H.  King, 
who  is  well-known  in  musical  circles. 

Mme.  Rive- King  can  hardly  be  overrated 
as  a  player.  She  possesses  a  wonderful  com- 
mand of  her  instrument  and  a  consummate 
technique,  which  enables  her  to  perform  the 
most  difficult  pieces  with  ease.  Constant 
practice  from  earliest  childhood  has  given  her 
great  wrist  and  digital  power,  and  there  is  no 
perceptible  diminution  of  the  force  and  clear- 
ness of  her  touch,  even  during  the  perform- 
ance of  the  heaviest  compositions.  Slow 
playing  has  developed    the    full,     round    tone 


which  is  one  of  the  characteristics  of  all  her 
interpretations.  She  at  once  enters  into  the 
spirit  of  the  work,  and  strives  to  bring  out  and 
make  apparent  the  intention  of  the  composers 
Her  programs  are  models  of  good  tr.ste,  in 
which  both  the  classical  and  the  romantic 
schools  are  fairly  represented.  One  thing 
greally  in  her  favor  as  a  player  is  her  fredom 
from  nervousness  when  appearing  before  an 
audience;  indeed,  the  presence  of  an  audience 
seems  rather  to  inspire  her.  Mme.  Rive-King 
is  not  alone  a  great  pianist,  but  has  displayed 
considerable  talent  as  a  composer.  The  fol- 
lowing is  a  list  of  her  compositions  and  tran- 
scriptions, all  piano  solos  : 

Andante  und  Allegro   (Mendelssohn,  op.  64). 
Ballade  et  Polonaise  de  Conceit  (Vieux. — 38). 
Bubbling  Spring.     Tone  poem   characteristic. 
"Carmen"  (Bizet).      Grand  fantasia. 
Concert  sonata  in  A    major    (Scarlatti).      Re- 
vised and  fingered. 
Gems  of  Scotland.      Caprice    de     conceit,    in- 
troducing the  airs  of  "Kathleen,"    "An- 
nie   Laurie,"    and    "Blue    Bells  of  Scot- 
land." 
Hand  in  Hand.      Polka  caprice. 
La  ci  Darem  la  Mano  (Chopin,  op.  2). 
March  of  the  Goblins.     Also  for  4  hands. 
Mazurka  des  Graces.     Morceau  de  salon. 
<  >Id  Hundred.     Paraphrase  de  concert. 
On  Blooming  Meadows.    Concert  waltz.    Also 

arranged  for  4  hands. 
Pense'es  Dansantes    (Thoughts  of  the  Dance). 

Valse  brilbante.     Also  for  4  hands. 
Polonaise    Heroique.      Morceau    de     concert. 

Also  for  4  hands.      Dedicated  to  Liszt. 
Prelude  and  Fugue    (Haberbier-Guilmant). 
Rhapsodic  Hongroise,  No.   2  (Liszt). 
Wiener  Bonbons  (Strauss). 
"Tabs  from  the  Vienna  Woods." 
Impromptu  in  A  flat. 
"Nearer,  My  God,  to  Thee." 
"Home,  Sweet  Home." 
Supplication. 

RJV6,  Carolink,  ncc  Staub,  mother  of  the 
preceding,  was  born  in  France,  in  the  year 
1822.  She  had  a  fine  soprano  voice,  and 
took  lessons  from  Garcia,  who  advised  her  to 
adopt  the  lyric  stage  as  a  profession.  This 
she  did  not  do,  but  married  a  young  French 
artist  named  Rive.  Together  they  came  to 
the  United  States,  landing  at  New  Orleans, 
then  the  great  musical  center.  During  a 
severe  cholera  epidemic  they  lost  three  chil- 
dren. They  then  removed  to  Baton  Rouge, 
La.,  thence  to  Louisville,  Ky.,  and  finally, 
about  1854,  to  Cincinnati,  O.  There  she  was 
very  successful  as  a  teacher,  and  had  a  large 
number    of   pupils.      Feeling    that   her  health 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


was  failing,  she  went  to  vesicle  with  her 
•  laughter  in  New  York,  and  died  there  Oct. 
31,  1S82.  Her  husband  died  about  nine 
years  previous.  Mine.  Rive  was  not  only 
most  highly  esteemed  as  a  teacher,  but  equal- 
ly so  as  a  woman.  For  many  years  she  lived 
a  true  Christian  life,  and  was  beloved  by  all 
who  knew  her  for  her  sympathy,  kindness, 
and  charity. 

Boot,   Dr-  George  Frederick,    one   of  I 


America's  most  popular  composers  of  vocal 
music,  was  born  Aug.  30,  1820,  at  Sheffield, 
Berkshire  Co.,  Mass.,  and  is  the  eldest  of  a 
family  of  eight  children.  His  youthful  years 
were  spent  in  working  on  his  father's  farm, 
but  his  soul  was  full  of  music,  and  he  learned, 
unaided,  to  play  several  musical  instruments. 
By  the  time  he  had  arrived  at  the  age  of  eigh- 
teen, life  on  the  farm  had  grown  to  be  irk- 
some. Knowing  that  his  calling  lay  in  the 
line  of  music,  he  was  anxious  to  be  about  it. 
Accordingly,  in  1838,  having  obtained  the 
consent  of  his  parents,  he  went  to  Boston  to 
enter  upon  the  career  for  which  nature  so  ad- 
mirably fitted  him.  For  some  time  after 
arriving  in  the  city  no  opening  to  his  taste 
presented  itself.  While  still  undecided  what 
to  do,  A.  N.  Johnson,  then  a  popular  and  suc- 
cessful organist  and  teacher  in  Boston,  took 
him  into  his  music  school  on  trial.  The  result 
was  so  satisfactory  that  Mr.  Johnson  gave  him 
a  permanent  position  as  a  teacher  and  admitted 
him  to  his  own  home.  A  year  later  a  part- 
nership was  formed  between  the  two.  About 
the  same  time  he  became  director  of  music  nt 
Winter  Street  and  Park  Street  churches.  In 
1844  he  was  induced  by  Jacob  Abbott,  whose 
name  is  familiar  in  literary  circles,  to  remove 
to  New  York  and  become  instructor  of  music 
in  Abbott's  Institute.  He  had  not  long  been  | 
there  before  he  found  his  time  fully  occupied 
in  teaching  in  various  private  institutions.  He 
was  also  given  charge  of  the  music  in  the  old 
Presbyterian  Church,  Mercer  street,  now  well- 
known  as  the  "Church  of  Strangers,"  under 
Dr.  Deems.  About  the  time  of  his  removal 
from  Boston,  or  soon  after,  he  was  married  to 
Miss  Mary  <  )live  Woodman,  a  most  estimable 
young  lady,  who  proved  a  great  helpmeet  to 
him. 

In  1850  he  went  to  Paris,  where  he  spent  a 
year  in  dilligent  study.  Shortly  after  his  re- 
(urn  home  he  determined  to  trv    his  ability  as 


a  composer,  and  the  result  was  his  famous 
song  of  "Hazel  Dell."  It  was  published  by 
Wm.  Hall  &  Son  of  New  York,  became  one 
of  the  most  popular  songs  of  the  day,  and  even 
now  has  a  steady  and  quite  large  sale.  The 
publishers  immediately  made  arrangements  to 
issue  all  of  his  compositions  for  three  years. 
Fearful  of  failure  he  had  used  the  German 
equivalent  of  Root,  "Wurzel,' '  for  a  signature, 
and  many  of  his  later  pieces  bear  the  same 
name.  "Hazel  Dell"  was  followed  by  the 
cantata  of  "The  Flower  (^ueen"  (1851), 
words  by  Fanny  J.  Crosby.  It  was  hist  pro- 
duced in  New  York  City,  with  great  success. 
Desiring  to  devote  more  time  to  composition, 
he  retired  to  "Willow  Farm"  at  North  Read- 
ing, a  home  erected  by  himself  and  brother 
for  the  comfort  of  their  parents.  There  he 
remained  several  years,  only  leaving  his 
seclusion  when  called  upon  to  conduct  musi- 
cal conventions.  In  the  summer  of  1852  the 
first  Normal  Musical  Institute  (See  Institutes 
of  Music,  Normal),  was  held  in  New  York, 
the  faculty  consisting  of  Dr.  Lowell  Mason, 
Thos.  Hastings,  Wm.  B.  Bradbury,  and  Dr. 
Root.  The  idea  and  scheme  originated  with 
Dr.  Root,  and  has  been  productive  of  much 
good.  He  still  takes  the  lead  with  his  "Nor- 
mals," though  they  are  now  held  by  other 
teachers.  He  is  also  one  of  the  leading  con- 
vention conductors  (See  Conventions,  Mr- 
SICAI.),  having  been  engaged  in  the  work  for 
the  last  forty  years,  the  earlier  part  of  this 
period  in  conjunction  with  Dr.  Mason,  W.  B. 
Bradbury,  and  others.  In  i860  Dr.  Root 
went  to  Chicago  and  became  one  of  the  firm 
of  Root  &  Cady,  music-publishers.  They 
were  very  successful,  and  one  of  his  books 
alone,  the  "Triumph"  (1868)  paid  a  profit  of 
about  ^50,000.  Through  the  great  Chicago 
fire  of  October,  1871,  they  lost  all  their  stock, 
valued  at  about  ^200,000.  Soon  after  the 
firm  was  dissolved,  Mr.  Cady  going  to  Xew 
York.  Dr.  Root  still  (May,  1886)  resides  in 
Chicago,  and  is  still  busy  in  editing  various 
works,  composing,  and  conducting.  Some 
years  ago  he  transferred  his  services  to  John 
Church  &  Co.  of  Cincinnati,  who  ate  now  his 
publishers.  The  degree  of  Doctor  of  Music- 
was  bestowed  upon  him  in  1881  by  the  Uni- 
versity of  Chicago. 

Dr.  Root  occupies  an  important  place  in  (lit- 
musical  history  of  this  country.      It  was  Lowell 


148 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Mason  who  lifted  music  from  almost  nothing 
and  gave  it  an  impetus,  but  he  left  no  belter 
follower  than  Dr.  Root  to  carry  on  his  work. 
It  is  as  a  composer  of  songs  and  other  vocal 
pieces  that  Dr.  Root  excels.  While  they  are 
within  the  comprehension  of  the  masses  they 
have  an  elevating  influence  and  are  admirably 
adapted  for  raising  the  standard  of  music, 
which  has  been  the  one  great  object  of  his 
life.  Of  course,  in  time  many  of  them  will 
pass  into  oblivion,  but  this  is  nothing  against 
their  past  or  present  value.  Among  the  songs 
which  have  gained  a  national  popularity  may 
be  mentioned  "Ha/el  Dell"  (1851);  "Rosalie, 
the  Prairie  Flower"  (1852-53);  "Battle  Cry  of 
Fredom,"  written  in  answer  to  T.  F.  Seward's 
t  famous  "Rally  'round  the  Flag,  Boys,"  and 
sung  by  the  Hutchinson  Family  at  the  great 
mass  meeting  at  Union  Square,  New  York, 
in  1861  ;  "Tramp,  Tramp,  Tramp,  the  Boys 
are  Marching,"  which  has  been  heard  in 
every  shape  from  one  end  of  the  land  to  the 
other;  "Just  Before  the  Battle,  Mother;" 
"Vacant  Chair,"  all  of  which,  except  the  first 
two,  belong  to  the  war  period  ;  "The  Old 
Folks  are  (lone,"  "A  Hundred  Years  Ago," 
and  "Old  Patomac  Shore."  "There's  Music 
in  the  Air"  is  a  tine  quartet,  and  for  many 
years  held  its  place  as  a  standard  piece  for 
serenading  purposes.  "Shining  Shore"  has 
long  been  a  great  favorite  in  Sunday  schools. 
All  of  the  cantatas  are  popular,  and  some  of 
them  contain  many  gems.  Among  the  books 
are  "Sabbath  Bell,"  "Diapason,"  "Triumph" 
"Silver  Lute,"  "Choir  and  Congregation," 
"Chorus  Castle,"  "Realm  of  Song,"  and 
"Musical  Cirriculum."  The  latter  is  a  most 
excellent  and  comprehensive  work  for  the 
piano.  Space  wdll  not  permit  us  to  name  any 
more,  but  the  following  is  a  list  of  Dr.  Root's 
principal  works,  wdth  year  of  publication  : 

1.  Academy  Vocalist.    Ladies'  voices.      1848 

2.  Flower   Queen.     Cantata.     Words 

by  Fanny  J.  Crosby.      First  pro- 
duced in  New  York  City.  1S51 

3.  Daniel.      Cantata.      First  produced 

in  New  York  City.  1852 

4.  Pilgrim    Fathers.       Cantata.      First 

produced  in  New  York  City.  '$54 

5.  Belshazzar's  Feast.    Cantata,     hirst 

produced  in  New  York  Citv.  1855 

(...    Festival  Glee  Book.  1856 

7.  Haymakers.      Cantata.      First    pro- 

duced in  New  York  City.  1856 

8.  Sabbath  Bell.     Church  music.  1856 

9.  Diapason.      Church   music.  i860 


IO-   Cabinet  Organ  School.  1863 

11.  Musical  Cirriculum.    Foi  the  piano.    1864 

12.  Silver  Lute.      Day  schools.  1865 

13.  Coronet.      Clees,  etc.  1S67 

14.  Triumph.      Church  music.  1868 

15.  Prize.      Sunday  schools.  1870 

16.  Forest  Choir.     Day  schools.  1871 

17.  Model  Organ  Method.  1872 

18.  Glory.     Church  music.  1872 

19.  Choir  and  Congregation.     Church.      1875 

20.  FirslYearsin  Song  Land.  Day  schools  1879 

21.  Palace  of   Song.   Classes   and    con: 

ventions.  J^79 

22.  Song  Tournament.      Cantata.  1879 

23.  Chorus  Castle.      Choral  societies.         1880 

24.  Under   the    Palms.      Sunday  school 

cantata.  1S80 

25.  David,  the  Shepherd  Boy.     Sunday 

school  cantata.  1881 

26.  Realm  of  Song  (The).    Classes  and 

conventions.  1882 

27.  Choicest  Gift  (The).   Sundayschool 

cantata.  i&Sj 

28.  Pure  Delight.     Sunday  schools.  1883 
Dr.    Root's    two    daughters,     NELLIE    and 

May,    are    respectively  contralto    and  mezzo- 
soprano  singers. 

I^OOt,  Frederick  W.,  son  of  the  pre- 
ceding, was  born  at  Boston,  June  13,  1846. 
His  musical  instruction  was  begun  when  he 
was  five  years  old  by  his  father,  and  when 
about  fourteen  he  was  placed  under  the  care 
of  B.  C.  Blodgett,  who  took  great  pains  to  ad- 
vance his  pupil.  He  subsequently  studied 
with  Wra.  Mason,  Robert  Goldbeck,  and  Jas. 
Hint,  an  organist  of  some  repute.  After  the 
removal  of  the  family  to  Chicago,  in  i860,  he 
frequently  assisted  his  father  in  conducting 
conventions,  also  taking  voice  lessons  from 
Carlo  Bassini  of  New  York  at  intervals.  In 
1S69  he  went  to  Europe  and  spent  several 
years  in  study  and  travel.  On  returning  to 
the  United  States  he  resumed  his  studies  with 
Wra.  Mason  and  Carlo  Bassini.  He  has  since 
mainly  devoted  himself  to  teaching,  conduct- 
ing, and  composing,  and  now  (May,  1886) 
resides  at  Chicago.  As  a  teacher  of  vocal 
music  he  is  very  successful  and  takes  a  lead- 
ing position.  In  1866  Mr.  Root  was  employed 
by  Root  &  Cady,  for  whom  he  did  a  great 
deal  of  arranging  and  composing  of  music, 
having  the  popular  taste  in  mind.  Some  of 
his  pieces,  however,  were  of  true  artistic  fin- 
ish, notably  the  song,  "Beyond,"  which  is 
worthy  of  attention.  He  remained  with  the 
firm  until  the  tire  of  October,  187 1.  Mr. 
Root's  works  consist  of  a  cantata,  composed 
for  the  Beethoven  Society;  a  vocal   method  ; 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


149 


ri  burlesque  operetta;  a  class  singing  book; 
songs,  glees,  choruses,  etc.  "The  Landing 
of  the  Pilgrims"  (to  Mrs.  Heman's  words)  is 
a  particularly  tine  piece  of  choral  writing. 
For  several  years  he  was  editor  of  the  "Song 
Messenger,"  and  still  contributes  occasional 
articles  to  the  musical  press. 

Rose  Of  Tyrol.  An  operetta  in  two 
acts.  Words  from  the  French;  music  by 
Julius  Eichberg.  Produced  at  the  Museum, 
Boston,  Monday,  April  o,  1868. 

Rndersdorff,    Hermine  or  Erminia, 

was  horn  at  Ivanowsky  in  the  Ukraine,  Rus- 
sia, Dec,  12,  1822,  her  father  being  a  distin- 
guished violinist  there  at  the  time.  She 
studied  singing  at  Paris  with  Bordogni  and  at 
Milan  with  de  Micherout.  After  this  she  ap- 
peared at  various  concerts  in  Germany,  and 
sang  in  Mendelssohn's  "Lobges'jng, "  June  5, 
1840,  at  Leipzig.  In  1S44  she  married,  at 
Frankfort,  Dr.  Kiiehenmeister,  a  professor  of 
mathematics.  From  1852  to  1854  she  sang  in 
light  French  and  new  German  operas  with 
great  success  at  Berlin,  having  previously  ap- 
peared in  the  principal  German  cities.  .May 
23,  1854,  she  made  her  first  appearance  in 
England,  at  Drury  Lane,  London,  as  Donna 
hiu, 1  in  "Don  Giovanni,"  and  was  well  re- 
ceived. She  was  engaged  at  Covent  Garden 
and  other  London  theatres  for  several  years, 
and  during  the  intervals  between  the  seasons 
visited  the  English  provinces,  Germany,  Hol- 
land and  Paris.  It  was,  however,  as  a  concert 
singer  that  she  excelled,  and  consequently 
she  was  frequently  called  upon  to  sing  at  the 
principal  festivals.  Her  rendition  of  some 
oratorio  parts  was  magnificent  and  produced  a 
wonderful  effect.  In  1 871  she  was  induced  to 
come  t.)  the  United  States  by  the  Handel  and 
Haydn  Society  of  Boston,  and  such  was  her 
reception  that  she  was  prevailed  -upon  to 
make  this  country  her  permanent  home.  She 
sang  at  the  Peace  Jubilee  of  1872,  but  mainly 
devoted  herself  to  teaching,  in  which  she  was 
very  successful;  indeed,  so  great  was  her  suc- 
cess that  she  soon  took  a  leading  position  in 
the  profession  and  was  compelled  to  accept 
only  such  pupils  as  gave  evidence  of  a  special 
talent.  Among  the  vocalists  she  trained  may 
be  mentioned  Anna  Drasdil,  Emma  Thursby, 
Isabel  Fasset,  Emily  Winant,  Fannie  Kellogg, 
Helen  Billings,  Eugenie  Pappenheim,  Carlot- 
ta   Patti,  Minnie  Hauck,  etc. 


Mme.  Rndersdorff  was  not  only  a  teacher 
and  singer,  but  occasionally  appeared  in  the 
role  of  a  composer.  She  also  contributed  mu- 
sical articles  to  various  publications,  and  in 
1873  furnished  the  libretto  of  Randegger's 
cantata  of  "Fridolin,"  produced  at  the  Bir- 
mingham (Eng. )  festival.  Having  accumu- 
lated considerable  money,  she  bought  an 
estate  of  84  acres  in  a  quiet  rural  town  near 
Boston,  where  she  spent  the  summer  months 
in  agricultural  recreations.  After  a  year's 
painful  illness,  death  released  her  from  suffer- 
ing, Sunday  morning,  Feb.  26,  1882.  She 
was  conscious  to  the  last  moment,  and  gave 
full  directions  for  the  disposition  of  her  prop- 
erty. Her  name  was  well  known  on  both 
continents,  and  her  death  produced  a  feeling 
of  gloom  in  musical  circles  throughout  the 
country.  She  will  not  soon  be  forgotten  as  a 
most  estimable  musician  and  woman. 

liildolphseii,  John  Frederick,  singer, 
actor,  and  teacher,  was  born  March  19,  1827, 
at  Hamburg,  Germany.  He  early  received 
instruction  on  the  violin,  also  in  theory  and 
composition.  At  the  age  of  sixteen  he  entered 
the  orchestra,  playing  under  Karl  Krebs  and 
Richard  Wagner.  Oct.  6,  1848,  he  arrived  in 
New  York  City  as  a  member  of  Gung'l's 
famous  band.  After  Gung'l's  return  to  Eu- 
rope, he  was  engaged  for  four  or  five  years  as 
a  member  of  the  orchestra  of  the  Italian  ( >pera, 
New  York,  then  conducted  by  Max  Maretzek. 
During  a  portion  of  this  period  he  studied 
singing,  and  made  his  ddbut  as  an  operatic 
singer  at  Niblo's  Garden,  New  York,  in  Mme. 
Anna  Bishop's  English  Opera  Company  in 
1853.  Having  sung  for  a  number  of  years  in 
opera,  he  traveled  extensively  throughout  the 
country  as  a  concert  singer.  In  1862  he  was 
called  to  Boston  by  the  Handel  and  Haydn 
Society  to  sing  in  the  "Messiah."  He  located 
there  and  was  for  a  long  time  a  prominent 
teacher  and  singer.  About  the  year  1875  he 
again  took  up  his  travels,  accompanying  Mme. 
Camilla  Urso  in  her  tours  of  this  country.  In 
November,  1879,  be  was  called  to  Cincinnati 
as  professor  of  singing  in  the  then  newly  es- 
tablished College  of  Music.  This  position  he 
still  (May,  18S3)  retains.  His  abilities  as  a 
teacher  are  of  high  order,  and  he  is  particu- 
larly well  versed  in  everything  that  pertains 
to  the  vocal  ait.  He  has  composed  a  number 
of  songs,  that   of  "Break,  Break"  being   far- 


HANDBOOK    OF    AMERICAN    MUSIC    AM)    MUSICIAN'S. 


liculaily  fine,  and  a  Te  Deum  in  B  Bat. 
Ryder,  Thomas  Philanoer,  was  born  at 

Copasset,  Mass.,  June  29,  1836.  He  early 
manifested  a  great  love  for  music,  but  his 
tastes  received  no  encouragement  previous  to 
his  fourteenth  year,  when  he  was  given  some 
instruction  upon  the  piano  by  a  friend.  His 
progress  was  very  rapid,  and  he  soon  began 
composing  little  pieces.  While  still  young  he 
was  thrown  upon  his  own  resources  by  the 
death  of  his  father,  but  he  managed  to  obtain 
time  to  practice  music.  When  nineteen  he 
began  studying  with  Gustav  Satter,  and  also 
took  some  lessons  in  organ  playing  and  har- 
mony. After  holding  various  positions  as 
organist,  the  first  of  which  was  at  Nyannis, 
Mass.,  he  became  organist  at  Tremont  Tem- 
ple, Boston,  a  position  which  he  held  for 
nearly  ten  years.  His  skill  as  an  accompanist 
is  equaled  by  few.  He  still  resides  in  Bos- 
ton, and  numbers  among  his  pupils  many  tal- 
ented musicians.  His  compositions  are  mostly 
for  the  piano.  The  first  one  to  attract  general 
attention  was  the  "Chanson  des  Alpes,"  pub- 
lished in  1SS0  bv  White,  Smith  &  Co.      Among 


his  other  popular  pieces  are  "Old  Oaken 
Bucket,"  "Nearer,  My  God,  to  Thee,"  "A 
Dainty  Morsel,"  "  Lida,"  "Rustic  Maiden," 
"Sounds  from  the  Glen,"  etc.  lie  is  also 
acknowledged  to  be  a  choral  conductor  ><( 
unusual  skill,  and  has  filled  many  important 
positions  in  this  capacity. 

Ryder,  George  H.,  &  Co.,  Boston. 

This  house,  which  manufactures  church  or- 
gans, was  established  Nov.  1,  1870,  by  Geo. 
H.  Ryder,  who  is  at  present  sole  proprietor. 
About  two  organs  per  month  are  turned  out, 
the  total  number  thus  far  constructed  is  112, 
varying  in  price  from  £600  to  #6000  or  more. 
Mr.  Ryder,  who  was  born  May  9,  1838,  has 
had  twenty -five  years'  experience  in  the  busi- 
ness, and  is,  besides,  an  excellent  organist, 
having  officiated  in  several  of  the  Boston 
churches.  A  selected  force  of  workmen  is 
employed  in  the  factor)',  which  is  located  at 
Reading,  Mass.  Mr.  Ryder  has  built  many 
organs  for  use  in  and  around  Boston,  as  well 
as  various  ones  throughout  the  country,  among 
which  are  1st  Baptist  Church,  Chelsea,  Mass., 
and  1st  M.  E.  Church,  Cleveland,  Ohio. 


s. 


Schilling,  DR.  GUSTAV,  well-known  as 
a  musical  writer,  was  horn  Nov.  3,  1805,  at 
Schweigershausen,  Hanover,  where  his  fath- 
er was  a  clergyman.  He  was  educated  at 
Gottingen  and  Halle,  and  in  1830  became 
director  of  Stopel's  Music  School  at  Stuttgart. 
In  1S57,  on  account  of  financial  difficulties,  he 
was  compelled  to  leave  his  native  country  and 
came  to  the  United  States,  landing  at  New 
York.  Two  years  later  (1859)  he  was  also 
compelled  to  flee  from  thence.  He  then 
spent  several  years  in  wandering  throughout 
Canada,  and  probably  at  one  time  resided  in 
Montreal.  In  1871  he  settled  at  Burlington, 
Iowa,  as  a  teacher,  also  contributing  articles 
to  various  German-American  publications, 
under  the  nonts  de plume  of  "The  Deceased" 
and  "The  Hermit  of  Iowa."  Seemingly  im- 
pelled by  some  restless  spirit,  perhaps  also 
hoping  to  better  his  financial  condition,  he 
removed  from  Burlington  to  the  State  of  Ne- 
braska, where  he  died  in  June  (?),  1880.* 
He  left  a  daughter,  but  whether  or  not  any 
other  children  we  have  been  unable  to  ascer- 
tain. Al  one  period  of  his  residence  in  the 
West  he  had  a  music  school.  Dr.  Schilling 
wrote  ".Esthetics  of  Music,"  in  2  volumes; 
"Polyphonomos,"  a  book  relating  to  harmo- 
ny ;  "The  Musical  Europe,"  a  collection  of 
biographical  sketches;  a  "Dictionary  of  Mu- 
sical Words  ;  a  work  on  acoustics,  one  on 
harmony,  etc.  He  als:>  rewrote  Philip  Eman- 
uel Bach's  piano  school.  But  the  work  by 
which  he  will  longest  be  rememhered  is  the 
"Encyclopedic  der  gesammten  musikalischen 
Wissenschaften,    oder  Universal  Lexikon  der 


*Grove's  "Dictionary  of  Music  and  Musi- 
cians''' states  t fiat  he  is- still  living  in  Montreal, 
in  which  it  probably  follows  Mendel's  "Biction- 
ary."  This,  however,  is  a  mistake,  mixing, 
perhaps,  from  //is  luiving  once  lived  in  the  place 
named.  It  is  certain  that  //■■  died  as  above  stated, 
though  the  exact  dale  and  place  have  not  as  vet 
been  determined.  Right  liere  I  would  acknotvl- 
edge  my  indebtedness  to  J/;.  Karl  Merz,  editor  of 
"Brainard's  Musical  World"  [who  correspon- 
ded with  Schilling  fm  several  years)  for  the 
pacts  of  his  life  during  his  residence  in  .  imerica. 


Tonkunsl"  (Encyclopaedia  of  General  Musical 
Knowledge,  or  Universal  Lexicon  of  Music), 
7  vols.,  8vo.,  Stuttgart,  1S35-40;  published  in 
this  country  by  Schuberth  &  Co.,  New  York. 
It  is  thought  he  left  in  manuscript  a  work 
entitled  "Art  of  Touch,"  which  he  is  known 
to  have  written.  Many  of  his  works  have 
been  severely  criticised,  and  perhaps  justly 
so,  though  they  contain  much  that  is  good. 
Schilling's  life  was  one  of  unusual  adversity  and 
change.  Plow  much  of  this  was  due  to  him- 
self we  will  not  undertake  to  say.  His  light, 
which  rose  so  brightly  in  Germany  fifty  years 
ago,  suffered  extinction  in  the  New  World,  far 
from  his  native  country. 

Sehlesinger,  Daniel,  was  born  at 
Hambu-g,  Dec.  15,  1799.  His  study  t.f  the 
piano  began  when  he  was  five  years  old,  and 
later  he  took  some  lessons  on  the  organ.  For 
some  time  he  was  employed  in  a  counting 
house,  but  music  held  the  chief  place  in  his 
devotions.  While  in  London  on  one  occa- 
sion he  happened  to  hear  Ferdinand  Ries, 
and  at  once  became  a  pupil  of  that  musician, 
making  rapid  progress.  He  also  took  lessons 
of  Moscheles.  He  was  elected  a  member  of 
the  Philharmonic  Society,  London,  and  played 
in  several  concerts  of  the  society,  producing 
several  of  his  own  compositions.  In  1832  he 
made  a  professional  tour,  visiting  Hamburg, 
Leipzig,  Vienna,  Paris,  and  other  cities.  At 
the  suggestion  of  one  of  his  brothers  he  in 
1836  came  to  the  United  States,  landing  at 
New  York,  and  making  his  debut  as  a  pianist 
at  the  National  Theatre,  wilhout/however, 
meeting  with  a  very  good  reception.  In  the 
following  year,  at  a  second  appearance,  he 
played  HummePs  A  flat  concerto  and  was 
applauded.  His  time  was  mostly  devoted  to 
teaching,  but  from  time  to  time  he  came 
before  the  public  as  a  player.  He  died  at 
New  York,  Jan.  8,  1838. 

Scllflenfeld,  Henry,  was  born  at  Mil- 
waukee, Wis.,  Oct.  4,  1856,  and  educated  at  the 
Leipzig  Conservatorium  and  under  Lassen  at 
Weimar.  We  have  few  particulars  of  his  life, 
but  his  compositions  evince  more  than  ordinary 


LS- 


HAXDISOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


talent  as  a  composer.  Among  them  is  an 
"Easter  Idyll ;"  a  cantata,  tor  solos,  chorus 
and  orchestra  ;  several  sonatas,  piano  pieces, 
songs,  etc. 

Scllllltze,  Edward,  was  born  in  Ger- 
many about  [828.  He  was  one  of  the  mem- 
bers  of  the  Germania  Orchestra  (See  that 
heading),  and  came  to  this  country  with  that  j 
organization  in  1S48.  When  it  disbanded  1 
(1855)  he  located  in  Boston,  where  he  for  a  j 
long  time  resided,  esteemed  as  a  teacher  and  l 
player.  In  1877  he  became  director  of  the! 
musical  department  of  the  SyracuseUniversity, 
which  conferred  on  him  the  degree  of  Doctor 
of  Music. 

Sejfiiin,    Arthur    Edward    Sheldon,  | 

was    born    at    London,    April  7,   1809,  and  re-  ; 
reived    his     musical     training     at    the    Royal 
Academy    of  Music.     In    1S2S   he    made    his 
(//out    as    a    singer    at  a  concert  and  was  well 
received.      During   1833  and  1834  he  was  en-  | 
gaged    at    Covent    Garden,    and  from  1835  to  ! 
1837    at    Drury   Lane,  singing,  meanwhile,  in 
various    festivals   and  concerts.      He   came    to  j 
the    United    States  in    1838,   and  on  Oct.   15th  j 
of  that  year  appeared  at  the  National  Theatre, 
New  York,  as  the  Count  in  Rooke's  "Amilie." 
Subsequently    he  organized  an  opera  company 
called  the  "Seguin  Troupe,"  which  gave  per- 
formances   in    many  of  the  towns  and  cities  of 
this  country  and  Canada.      He   died    at    New 
York,  Dec.  9,  1852.     His  voice  was  a  bass  of 
peculiar  depth  and  richness.      It  is  said  that  he 
was  elected  a  chief  by  one  of  the  Indian  tribes 
and  given  a  name    meaning   "The    man    with 
the  deep,  mellow  voice." 

Soji'llill,  Ann,  nte  Childe,  wife  of  the  pre- 
ceding, was  also  a  pupil  at  the  Royal  Acad- 
emy of  Music,  and  made  her  dibut  at  the  same 
time  and  place  as  her  husband.  Some  time  \ 
after,  they*  were  married,  and  she  came  with  j 
him  to  this  country.  She  sang  with  him  in  ' 
operas  until  his  death,  in  1852,  when  she  re- 
tired from  the  stage  and  settled  at  New  York.  ; 
She  was  still  living  there  in  1882. 

Seiler,  MME.  Emma,  was  born  Feb.  23,  ! 
1821,  at  Wiirzburg,  Bavaria,  where  her  father 
occupied  a  high  social  position.  The  most 
prominent  artists  and  scientists  were  numbered 
among  the  friends  of  the  family,  which  fact 
had  a  marked  influence  upon  the  education  of 
the  children.  At  the  age  of  twenty-one  years 
she  married    a    Swiss    physician,     and  went  to 


reside  with  him  near  the  village  of  Langen- 
thal,  Canton  Berne,  where  she  remained  nine 
years.      In  1851  she  had  the  misfortune  to  lose 

her  husband,  and  was  left  with  two  little  chil- 
dren without  any  means  of  support.  Having 
been  well  trained  in  singing  and  possessing  a 
tine  voice,  she  resolved  to  become  a  teacher 
of  the  art.  She  soon  found,  however,  that 
she  was  far  from  fitted  to  do  this.  Not  only 
was  she  destitute  of  an}-  starting  point  from 
which  she  could  proceed,  but  also  of  any 
method.  This  led  her  to  study  the  various 
vocal  works  published  and  at  the  same  time 
take  lessons  of  the  most  celebrated  teachers, 
but  from  them  she  learned  little  new.  Each 
teacher  had  a  different  system,  and  these  sys- 
tems were  arranged  with  little  regard  for  logic 
or  the  structure  of  the  throat.  Mme.  Seiler 
rightly  came  to  the  conclusion  that  ignorance 
could  work  more  harm  in  the  teaching  of  vo- 
cal than  in  any  other  branch  of  music.  And 
this  fact  she  was  destined  to  have  illustrated 
in  her  own  experience,  for  while  studying 
under  the  care  of  an  eminent  teacher  she  en- 
tirely lost  her  voice.  After  this  calamity  she- 
studied  the  piano  under  Frederic  Weick  at 
Dresden,  with  a  view  of  becoming  a  teacher 
of  that  instrument.  While  devoting  herself  to 
this  department  of  teaching  she  heard  of  nu- 
merous cases  where  persons  had  lost  their 
voice  through  injudicious  methods  of  training, 
and  this,  combined  with  the  loss  of  her  own 
voice,  made  her  determine  to  obtain  such 
knowledge  as  was  necessary  to  a  natural  and 
healthy  development  of  the  powers  of  the 
human  voice.  With  this  object  in  view  she 
embraced  every  opportunity  to  hear  the  great- 
est singers,  and  even  went  to  Italy,  but  there, 
as  later  in  France,  she  found  the  same  igno- 
rance and  superficiality. 

On  he*  return  she  sought  the  counsel  of 
Prof.  Helmholtz,  at  that  time  residing  at  Hei- 
delburg.  Through  the  assistance  of  that  dis- 
tinguished scientist  she  became  familiar  with 
all  the  new  discoveries  in  acoustics,  learned 
the  properties  of  true  musical  tones,  and 
finally  succeeded  in  producing  them  with  her 
own  voice.  She  then  brought  into  requisi- 
tion the  laryngoscope  (then  just  invented  1  to 
observe  the  physiological  processes  which  go 
on  in  the  larynx  during  the  production  of  such 
tones.  The  constant  strain  broke  down  her 
health,  and  for  a  year  she    was    compelled    to 


HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


<U'sist  from  labor.  Soon  after  resuming  her 
investigations  she  published  the  results  in  a 
little  hook,  "Altes  unci  henesuber  die  hens- 
hilding  der  Stimme,  von  E.  Seiler,"  at  Leip- 
zig, where  she  was  then  staying.  As  may  be 
imagined,  the  work  at  once  created  a  decided 
sensation,  though  no  one  suspected  its  being 
written  by  a  woman.  One  of  the  special  fea- 
tures was  the  description  of  a  pair  of  cartilages 
which  she  discovered  in  her  investigations, 
and  of  which  anatomists  had  previously  been 
ignorant. 

In  consequence  of  an  article  written  by  her- 
self and  printed  in  the  Leipzig  "Musik  Zeit- 
ung,"  she  was  offered  and  accepted  a  position 
at  Vienna.  She  was  prevented  from  fulfilling 
her  engagement,  however,  by  the  war  of  1866 
between  Germany  and  Austria,  which  imme- 
diately broke  out.  This  made  it  impossible 
for  her  to  support  herself  by  teaching  in  Ber- 
lin, where  she  had  been  residing  for  some 
time,  and  she  accepted  the  invitation  of  some 
friends  in  the  United  States  to  come  to  this 
country.  She  landed  at  Philadelphia,  pro- 
vided with  letters  of  introduction  from  Prof. 
Helmholtz,  Du  Bois  Ramant,  and  other  scien- 
tists of  Europe,  which  gained  her  admission 
to  many  of  the  first  families  of  the  city.  There 
she  continued  her  studies  in  the  physiology  of 
the  voice,  and  as  a  result  published,  in  1869, 
"Voice  in  Singing,"  which  was  received  with 
such  favor,  both  by  scientists  and  by  musi- 
cians, that  a  second  edition  was  soon  called 
for.  In  recognition  of  her  labors,  she  was 
elected  a  member  of  the  American  Philosoph- 
ical Society,  an  honor  seldom  or  never  before 
conferred  upon  a  woman  in  America.  Shortly 
after  the  publication  of  the  work  she  opened 
a  school  of  vocal  art,  in  which  she  employed 
her  method.  In  1875  she  was  led,  on  account 
of  the  many  persons  who  applied  to  her  for 
vocal  culture  in  speaking,  to  publish  a  third 
work,  "The  Voice  in  Speaking,"  in  the 
preparation  of  which  she  had  the  assistance  of 
her  son.  Dr.  Carl  Seiler. 

Mme.  Seiler  recently  gave  up  her  school, 
and  now  devotes  all  her  time  to  private  teach- 
ing and  the  preparation  of  a  new  edition  of 
her  German  hook.  With  the  exception  of 
Manuel  Garcia  of  London,  she  is,  perhaps, 
the  only  vocal  teacher  who  has,  to  any  great 
extent,  cultivated  a  scientific  knowledge  of 
the  voice,  and  it  is  grat Tying  to  know  that  her 


labors  are  appreciated  in  a  measure  at  least. 
To  students  of  voice-culture  her  works  are  a 
great  boon,  and  they  may  always  be  consulted 
with  profit. 

Seward,  Theodore  Frelinghuysen, 
was  born  at  Florida,  Orange  Co.,  N.  Y.,  Jan. 
25>  I&35-  He  early  devoted  himself  to  music, 
and  has  been  very  successful  as  a  teacher  of 
piano,  organ,  voice,  and  theory.  He  is  the 
editor,  either  wholly  or  in  part,  of  the  fol- 
lowing works,  which  contain  much  of  his 
music:  "Sunnyside  Glee  Book,"  "Temple 
Choir,"  "The  Singer,"  "Coronation,"  "Vine- 
yard of  Song,"  "Glee  Circle,"  "Pestalozzian 
Music  Teacher,"  and  "Tonic  Sol-fa  Music 
Reader."  At  different  periods  he  has  been 
editor  of  the  "New  York  Musical  Pioneer" 
and  the  "New  York  Musical  Gazette,"  and 
now  has  charge  of  the  "Tonic  Sol-fa  Advo- 
cate." He  is  one  of  the  chief  champions  of 
the  tonic  sol-fa  system  in  America,  to  the 
spreading  of  which  he  devotes  much  of  his 
time.      His  present  residence  is  Orange,  N.  J. 

Sharland,  John  B.,  was  born  ofEng. 
lish  parents  at  Halifax,  N.  S.,  in  1837.  Early 
in  life  he  went  to  Boston,  where  he  learned 
the  trade  of  a  piano  maker  in  Jonas  Chicker- 
ing's  establishment.  The  numerous  artists 
whom  he  heard,  however,  led  him  to  ahandon 
the  piano  business  and  take  to  music  as  a  pro- 
fession. He  soon  became  a  successful  pianist 
and  teacher,  and  rapidly  acquired  a  leading 
position  among  Boston's  musicians.  Mr. 
Sharland  has  been  connected  with  the  follow- 
ing musical  societies:  (1.)  The  "Cecilia 
Club,"  as  pianist.  (2.)  The  "Lurline  Club," 
so-called  from  Wallace's  opera  of  "Lurline," 
as  conductor.  After  giving  a  few  concerts  it 
was  discontinued,  owing  to  the  breaking  out 
of  the  Civil  War.  (3.)  The  "Foster  Club," 
as  conductor.  This  society  received  its  name 
from  its  patron,  Oeorge  Foster,  Esq,,  and  pro- 
duced Schumann's  "Gypsy  Life"  and  other 
works  of  that  class.  On  the  death  of  Mr. 
Foster  it  was  merged  into  the  "Cecilia"  (not 
the  society  previously  referred  to).  Mr.  Shar- 
land's  connection  with  it  covers  a  period  of 
four  years,  and  he  was  succeeded  by  John 
Howard.  (4.)  The  "Boylslon  Club,"  as  con- 
ductor, from  the  autumn  of  1872  to  April,  1875. 
Much  of  the  musical  proficiency  of  the  Club 
is  due  to  his  efforts.  He  was  succeeded  by 
Geo.  L.  Osgood.      (5.)  The    "Thomas  Choral 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


neo- 

lt    consisted    of 


Society,"    so-called  in  compliment 

.lore  Thomas,  as  conduc 
joo  voices,  and  the  following  are  some  of  the 
works  given  dming  its  existence  of  several 
years  :  "Song  of  Destiny"  (3  times  ),  Brahms; 
"Prometheus,"  Liszt;  9th  Symphony  (3),  Bee- 
thoven ;  "Faust,"  (4),  Berlioz;  "Orpheus" 
(3),  Gluck.  The  society  was  supported  by 
Mr.  Thomas'  orchestra.  Mr.  Sharland  was 
for  two  years  organist  and  director  of  Mr.  Al- 
ger's choir  of  40  voices,  which  gave  concerts 
at  the  Music  Hall  every  Sunday.  He  was 
also  one  of  the  music  committee  and  organist 
with  Dr.  Willcox  at  the  great  Peace  Jubilee, 
and  hail  the  training  of  the  10,000  children's 
voices.  At  the  present  he  is  director  of  the 
"Newport  Choral  Society,"  founded  six  years 
ago;  the  "Brockton  Choral  Union,"  now  two 
years  old;  the  "Belmont  Choral  Union,"  also 
two  years  old  ;  the  "Boston  Glee  and  Madri- 
gal Society ;"  and  instructor  of  music  in  the 
public  schools  of  Boston.  The  latter  posi- 
tion he  has  uninterruptedly  held  for  the  last 
eighteen  years. 

Slierwin,    William   Fjsk,   was  bom  at 

Ashtield,  Franklin  Co.,  Mass.,  March  14, 
1826,  and  has  gained  considerable  reputation 
as  a  teacher,  composer,  and  conductor  of  con- 
ventions. He  has  editetl,  in  conjunction  with 
others,  several  collections  of  music,  and  writ- 
ten a  large  number  of  songs,  anthems  and 
other  vocal  pieces.  He  now  ( April,,  188b) 
resides  at  Boston  and  is  connected  with  the 
New  England  Conservatory  of  Music. 

Sherwood,  William  Hall,  one  of 
America's  most  celebrated  pianists,  was  born 
at  Lyons,  N.  V.,  Jan.  31,  1854.  His  father, 
Rev.  L.  II.  Sherwood,  M.  A.,  a  fine  musi- 
cian, was  founder  of  the  LYONS  MUSICAL 
Academy  (See  that  heading).  At  a  very 
early  age  his  musical  talents  began  to  mani- 
fest themselves,  and  to  his  father's  careful 
training  he  probably  owes  much  of  his  sub- 
sequent success.  Such  was  his  progress  that 
between  the  ages  of  nine  and  eleven  years  he 
appeared  in  concerts  in  New  York,  Pennsyl- 
vania and  Canada.  The  ensuing  six  years 
were  mostly  spent  in  obtaining  a  general  edu- 
cation, though  he  frequently  gave  lessons  at 
his  father's  institution.  Having  full}  deter- 
mined upon  music  as  a  profession,  he  in  the 
summer  of  1871  placed  himself  under  the  care 


Dr.  Willi 


M; 


1,   wh 


is   then  holding 


a  normal  institute  at  Binghamton,  N.  Y. 
L  pon  the  advice  of  that  musician  he  went  to 
Berlin  in  the  autumn  of  the  same  year  and 
became  a  pupil  of  Rullak.  After  seven 
months  of  study  he  was  one  of  those  selected 
to  play  at  Kullak's  annual  concert  at  the  Sing- 
akademie,  and  performed  Chopin's  fantasia  in 
F  minor,  op.  49,  receiving  great  applause. 
His  health  becoming  somewhat  impaired,  he 
left  Berlin  and  went  to  Stuttgart,  where  he 
remained  several  months,  studying  composi- 
tion under  Doppler.  He  then  returned  In 
Berlin  and  continued  his  studies  under  Kullak 
and  Weitzmann.  Several  piano  pieces  which 
he  now  completed  were  very  favorably  com- 
mented upon,  and  a  capriccio,  op.  4,  was 
published  by  Breitkopf  &  Hartel  some  time 
later.  Also  five  piano  pieces,  ops.  I,  2  and  3, 
by  M.  Behr  of  Berlin,  and  taught  by  Theodore 
Kullak  in  his  advanced  classes.  During  his 
second  winter  in  Berlin,  he  played  Beethoven's 
"Emperor  Concerto"  several  times,  once  at 
the  Beethoven  festival  (Wuerst,  conductor), 
when  he  was  compelled  to  bow  to  the  applause 
and  recalled  no  less  than  eight  times  ! 

The  Mattering  beginning  would  have  turned 
the  head  of  more  than  one  young  artist,  but 
not  so  with  Mr.  Sherwood.  He  began  to  feel 
dissatisfied  with  his  technique  and  touch,  and 
spent  more  than  a  year  in  developing  the  fa- 
cility of  his  fingers  and  wrists,  studying  for  a 
period  to  excellent  advantage  with  Deppe. 
In  February,  1875,  l.e  repaired  to  Leipzig  and 
placed  himself  under  Richter  for  the  study  of 
counterpoint  and  composition.  He  did  not, 
however,  long  remain  there,  for  on  the  arri- 
val of  Liszt  at  Weimar  he  went  to  that  place, 
accompanied  by  his  wife,  formerly  Miss  Mary 
Fay,  a  talented  pianist,  whom  he  married  in 
the  autumn  of  1874.  Liszt  received  them 
warmly,  showing  them  many  kindnesses,  and 
even  consented  to  become  godfather  to  their 
first  child.  At  Liszt's  last  matinee  of  the  sea 
son,  Mr.  Sherwood  played  twice,  before  a 
distinguished  audience.  He  then  proceeded 
to  Hamburg  and  played  Grieg's  A  minor  con- 
certo at  a  philharmonic  conceit.  During  his 
stay  of  two  weeks  he  made  six  public  appear- 
ances, and  was  received  each  time  with  great 
applause.  At  the  Singakademie,  Berlin.  Feb. 
18,  1876,  he  gave  his  own  concert,  assisted  by 
his  wife,  which  was  a  great  success  and  unan- 
imously praised  by  the  German  press. 


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155 


In  May,  1876,  after  having  been  abroad 
nearly  five  years,  Mr.  Sherwood  returned  to 
the  United  States.  He  played  at  Boston,  New 
York,  Philadelphia,  Pittsburgh,  Cincinnati, 
St.  Louis,  Chicago,  Detroit,  Buffalo,  and 
nianv  other  cities  east  and  west,  fully  estab- 
lishing a  reputation  as  one  of  the  finest  of 
modern  pianists.  During  the  Centennial  Ex- 
hibition he  frequently  appeared  at  the  Phila- 
delphia Academy  of  Music  before  immense 
audiences,  arousing  great  enthusiasm.  In  the 
autumn  of  1S76  he  settled  at  Boston,  and  soon 
came  to  be  in  great  demand  as  a  soloist  and 
teacher.  For  two  or  three  seasons  he  taught 
at  the  New  England  Conservatory  of  Music, 
but  becoming  dissatisfied  with  some  tilings 
about  the  conservatory  system,  particularly 
the  short  time  allowed  for  lessons,  he  discon- 
tinued this  work,  and  has  since  given  only 
private  instruction.  He  gave  two  recitals  at 
the  opening  of  Hershey  Music  Hall,  Chicago, 
Jan.  23  and  25,  1877,  which  materially  added 
to  his  fame  in  the  West.  In  the  summer  cf 
1878  he  held  a  very  successful  normal  at  his 
native  place,  which  was  followed  by  two  at 
Canandaigua,  N.  Y.  hie  has  also  given  nu- 
merous recitals  and  lectures  at  the  annual 
meetings  of  the  Music  Teachers'  National 
Association.  During  May  and  June,  1879,  he 
made  a  tour  of  the  Northern  and  Western 
States,  which  embraced  the  following  places  : 
Boston  (3),  Providence,  R.  I.,  Portland,  Me., 
Cambridge,  Andover,  Bradford,  Taunton,  and 
Lowell,  Mass.,  Oberlin,  ().  (3),  Pittsburgh, 
Pa.,  Lexington,  Ky.,  Cincinnati  (2),  Chicago 
(6),  St.  Louis  (4),  Milwaukee,  Wis.  (2),  St. 
Paul,  Minn.  (2),  Cedar  Rapids  (2),  Burling- 
ton, Dubuque,  and  Burlington,  la.,  Owatom- 
ca  and  Minneapolis,  Minn.,  Evanston,  lib, 
Detroit,  Mich.,  Buffalo,  Auburn,  and  Syracuse, 
N.  Y.  He  has  also  made  repealed  similar 
tours.  Among  Mr.  Sherwood's  later  recitals 
may  be  mentioned  the  series  given  in  the 
hall  of  the  Academy  of  Arts,  Philadelphia, 
during  the  week  commencing  Dec.  4,  1882. 
The  programs  were  especially  comprehensive, 
and  included  a  number  of  pieces  by  American 
composers.  He  lias  made  a  feature  of  short 
lecture  analysis  of  the  works  performed  at 
many  of  his  recitals. 

As  a  pianist  Mr.  Sherwood  possesses  many 
excellent  qualities.  A  perfect  techniqife  is 
united    to    great    delicacy    as  well  as  depth  of 


expression.  The  works  of  the  great  masters 
are  rarely  so  well  rendered  as  when  in  his 
hands,  while  he  enters  into  the  spirit  of  the 
modern  school's  productions  ;  indeed,  he  may 
justly  be  classed  with  the  most  eminent  of  liv- 
ing players.  So  fully  has  his  time  been  occu- 
pied in  teaching  and  other  duties,  he  has  had 
little  opportunity  for  composition.  His  works 
probably  do  not  number  over  15  or  20.  We 
have  already  mentioned  the  five  piano  pieces 
and  capriccio,  ops.  1,  2,  3  and  4.  Of  the 
others  may  be  named  a  Scherzo  in  E  major, 
op.  7;  an  Idyll  in  A  major,  op.  5,  No.  2;  a 
Mazurka  in  A  minor,  op.  6,  No.  2;  a  "Scherzo 
Symphonique"  in  G  sharp  minor ;  Allegro 
Patetico  and  Medea,  ops.  12  and  13,  and  a  set 
of  six  pieces,   op.  14. 

Sherivood,  Mks.  William  II.,  nee  Miss 
Mary  Neilson  Fay,  was  born  at  Williamsburg, 
N.  Y.,  about  1855.  She  studied  under  Wm. 
Mason,  Richard  Hoffman,  Gustav  Satter,  and 
for  a  short  time  with  Rubinstein  during  his 
stay  in  this  country.  Upon  advice  of  the  lat- 
ter she  went  to  Berlin  and  placed  herself  under 
the  instruction  of  Kullak.  After  her  marriage 
with  Mr.  Sherwood  in  the  autumn  of  1874,  she 
accompanied  him  on  his  travels,  and  assisted 
him  at  his  last  conceit  in  Berlin.  Since  re- 
turning to  the  United  States,  she  has  frequent- 
ly taken  a  part  in  her  husband's  recitals,  and 
is  well-known  everywhere.  Besides  being 
one  of  the  finest  lady  pianists  of  our  time,  she 
is  very  successful  as  a  teacher. 

SlierWOOd,  Eik;ar  II.,  teacher,  pianist, 
and  composer,  was  born  at  Lyons,  N.  Y..  in 
1845,  and  is  brother  of  L.  H.  Sherwood,  prin- 
cipal of  the  Lyons  Musical  Academy.  His 
father,  Hon.  Lyman  .Sherwood,  was  a  promi- 
nent lawyer  of  his  day.  He  was  able  to  play 
the  violin  when  four  years  old,  but  his  musical 
talents  were  not  encouraged.  The  practice 
of  medicine  was  the  profession  chosen  for 
him,  and  he  entered  the  office  of  a  local  phy- 
sician for  study.  In  1S62  he  enlisted  and 
served  through  the  war.  At  its  close  he  re- 
turned North  and  chose  music  as  a  profession, 
studying  and  practicing  dilligently.  He  com- 
menced his  career  as  a  teacher,  in  which  he 
has  been  remarkably  successful,  in  a  seminary 
at  Dansville,  N.  Y.  He  now  resides  at 
Rochester,  N.  Y.  He  has  written  numerous 
songs  and  piano  pieces.  Many  of  the  latter 
are    used    bv    musicians  generally  for  concert 


•5" 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


and  teaching  purposes.  Of  them  we  may 
specify  "Grand  Menuet"  (A  flat),  "Polonaise" 
I  A  minor)  and  "Anemone"  (rondeau)  as 
being  particularly  fine. 

Shllinway,  NehEMIAH,    an  early  Amer- 
ican psalmodist,    published  at  Philadelphia  in 

1S01,  The  American  Harmony,   a  book  of 

220  pages,  including  a  singer's  manual.  Many 
of  the  tunes  and  anthems  were  of  his  compo- 
sition. As  to  his  birth  or  death  or  any  other 
particulars  of  his  life  we  are  ignorant. 

Silver  Threads  Among  the  <iol<l. 

A  popular  song  and  chorus,  written  about  ten 
years  ago  (1872).  The  words  are  by  Eben  K. 
Rexford;  the  music  by  H.  P.  Danks.  For 
some  time  after  its  appearance  it  was  all  the 
rage,  being  everywhere  sung  both  in  private 
and  public,  and  achieved  a  success  only  par- 
alleled by  a  few  of  Winner's,  Foster's  and 
Hays'  songs.  The  sales  were  several  hun- 
dred thousand  copies. 

SillJ»er,  Otto,  was  born  July  26,  1833,  at 
Sora,  Saxony.      In  1S51    he  entered  the    Con- 
servatorium    at    Leipsic,    where  he  remained  j 
until  1855,  studying  under  Richter,  Moscheles,  j 
and    Hauptmann.      He    went    to    Dresden    in 
1859,    and    for    two    years  at  intervals  studied  \ 
with  Liszt,   of  whom  he  was  a  devout  admirer  j 
and  follower.      Upon  being    offered  a  position  i 
as  teacher  in  the  new  conservatory    of  Theo-  j 
dore  Thomas  and    Win.  Mason,    he    came    to 
New  York  in  1867.     Early  in  1873,    the    con-  j 
servatory    having    previously  come  to  an  end,  | 
and  at  the  instance  of   Mr.  Thomas,    he    went 
to  Cincinnati  and  took  charge  of  the  chorus  of  j 
the  first  Cincinnati  May  Festival.     To  his  zeal  ; 
and  ability  much  of  the  success  of  the  Festival  j 
was  due,    and  at  the  same  time    he  secured  to 
himself  no    little    fame.      Becoming    in  great 
demand  as  a  teacher  and  conductor,  he  settled  j 
in  Cincinnati.      He    had    the    training    of   the 
choral  forces  at  the  May  Festivals  of  1875  and  j 
1878,     but    in    1880    was    succeeded    by    Mr. 
Brand.      At  the  Festival  of  1878  he  conducted 
Liszt's    "Graner"   mass,  and  his  own  "Ode," 
composed  expressly    for  the  opening  and  ded- 
ication of  the   Music  Hall.      Upon  the  organi- 
zation of  the  College  of  Music  in  1878  he  was 
engaged  as  one  of  the  instructors,   and  is  now 
(May,  1884)  professor  of  the  piano  and  theory 
and  one  of  the    lecturers   on    music.     In    this 
capacity  he  has   done    good    work,    and    very 
materially   assisted   in   advancing  the  interests 


and  reputation  of  the  College.  In  1880  he 
was  one  of  the  committee  of  three  appointed 
to  pass  judgment  upon  the  compositions  of- 
fered in  competition  for  the  prize  of  ?iooo 
offered  by  the  Festival  Association.  He  is 
highly  esteemed  in  Cincinnati  and  elsewhere, 
and  takes  a  prominent  place  among  American 
musicians.  Mr.  Singer's  compositions  are  nu- 
merous, though  few  of  them  have  been  pub- 
lished. In  all  of  them  he  shows  a  decided 
leaning  toward  the  modern  school  represented 
by  Liszt.  They  consist  of  '-The  Landing  of 
the  Pilgrim  Fathers"  (1876)  cantata,  and  "Fes- 
tival Ode,"  cantata,  composed  for  the  dedica- 
tion of  the  Music  Hall,  Cincinnati,  in  1878; 
several  symphonies  ;  two  concertos  for  piano 
and  orchestra  ;  variations  for  two  pianos,  op. 
1;  fantasia  for  piano  and  orchestra,  op.  2;  duo 
for  piano  and  violin,  op.  3;  a  rhapsodie  in  C  ; 
and  a  number  of  piano  pieces. 

Smith,  Dexter,  was  born  at  Peaborly, 
Mass.,  Nov.  14,  1839,  and  has  gained  consid- 
erable reputation  in  musical  circles.  He  has 
written  several  songs,  and  numerous  poems. 
For  a  long  time  he  was  editor  and  publisher  of 
"Dexter  Smith's  Paper,"  which  ceased  to  ex- 
ist a  number  of  years  ago.  He  now  has  edi- 
torial charge  of  "The  Musical  Record,"  pub- 
lished by  0.  Ditson  &  Co.,  Boston. 

Smith,  Wilson  George,  was  born  in 
Elyria,  Lorain  Co.,  O.,  Aug.  19,  1855.  His 
predilection  for  music  was  early  manifested, 
but  received  no  encouragement.  He  was  un- 
able, from  poor  health,  to  pursue  a  collegiate 
course,  and  after  graduating  from  the  public 
schools  of  Cleveland,  held  a  responsible  posi- 
tion in  a  prominent  wholesale  mercantile 
house  for  several  years.  The  permission  of 
his  parents  to  follow  music  as  a  profession 
having  at  last  been  obtained,  he  went  to  Cin- 
cinnati and  studied  for  some  time  with  Olto 
Singer.  A  number  of  compositions  written 
about    this    time    were    favorably   commented 

j  upon  by  several  eminent  musicians  and  en- 
couraged him  to  persevere.  In  1880  he  went 
to  Berlin,  where  he  remained  two  years, 
studying  the  piano  with  Xavier  Scharwenka, 
( >scar  Raif  and  Moritz  Moszkowski,  and  theory 
and  composition  with  F.  Kiel,  Phillipp  Schar- 
wenka and  Franz  Neumann,  with  all  of  whom 

j  he  was  a  favorite.  During  his  slay  in  Berlin, 
he  was  several  times  compelled  to  suspend 
studv    and    practice    entirely    on    account    of 


HANDBOOK.    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


nervous    prostration.     Returning  to  America,  | 
he  located  at  Cleveland,  where  he  still  resides.  | 
Soon    after,  a  number  of   his  compositions — a 
set  of  characteristic  piano  pieces  dedicated  to 
Edward    Grieg — were    published    by    A.     P. 
Schmidt  ,V  Co.,  of  Boston.      They  called  forth 
a  flattering  letter  from  that  musician.      Several 
of  his  pieces  were  performed  by  Calixa  Laval- 
lee    at    his    first    American    recital   before  the 
M.  T.  N.  A.,  and  were  received  with   marked  j 
favor.      Mis   name    is    now  to  be  found  on  the 
concert      programs      of    many     distinguished 
artists.      Mr.  Smith  is  the  editor  of  the  Modern 
Classic    and    Encore    Series  published   by    S.  | 
Hrainard's  Sons,  which  display  his  musicianly  i 
abilities.      lie    is    also  acquiring  considerable 
reputation    as    a     musical    writer     and     critic, 
being  connected  with    some  of  the  best  musi- 
cal   journals    in    the    country.      If   his    life   is 
spared,    he    will    undoubtedly    take    the    front 
rank    in    the   musical  profession.      Previous  (o  . 
op.  10  his  compositions  comprise  such  as  were  | 
written   before   he  went  abroad.     The  follow-  ! 
list   of   his  works    does    not    include  many  j 
fugitive  and  stray  pieces  : 

10.  Two  songs. 

11.  Mazurka   Hongroise. 

12.  Valse  Melodique. 

13.  Moment  Musicale. 

14.  Two  piano  pieces. 

15.  Serenade  for  piano. 

16.  Theme  and  variations  (Ms.) 

17.  Petite  Valse  de  Conceit. 

18.  Homage  a  Grieg  (5  piano  pieces). 

19.  Two  songs. 

20.  Three  songs. 

21.  Echoes  of    Ye  Olden   Time  (4  piano  j 
pieces). 

22.  Two  songs. 

23.  Swedish  Dance. 

24.  Menuet  and  Danse  Arabesque. 

25.  Gavotte  and  Mazurka. 
20.    Valse  Sentimental  and  Mazurka. 
27.    Penseed'  Amour  (Romance  for  piano)  ! 

ketches    for     piano  ; 


ing 
Iatei 

Op. 


«'     _\X.   Characteristic     s 

transcriptions.    1.  Norwegian  Dance 
(Grieg),     2.  Courante  (Handel),   3. 

Two  Songs  (Franz). 

Soiltliaril,  L.  11.,  bom  about  1826,  is 
well  known  in  this  country  as  an  organist, 
composer,  and  teacher,  lie  has  edited  sev- 
eral collections  of  music,  and  written  two  or 
three  operas.  His  "New  Course  in  Harmo- 
ny" was  published  in  1S55,  and  "Elements  of 
Thorough-Bass  and  Harmony"  (  i6mo  100  ppj 
in  1867.      He  resides  at  Boston. 

Stanley,    W.   II.,    a  tenor  singer  of  some 


repute,  was  born  in  England,  and  came  to  this 
country  in  187 1.  Since  coming  here  he  has 
sung  in  the  principal  cities  in  concerts,  ora- 
torios and  operas,  p'or  some  time  he  resided 
at  Boston,  but  now  resides  at  New  York.  His 
repertoire  includes  "Bohemian  Girl,"  "Mar- 
tha," "Patience,"  "Mascott,"  "Messiah," 
"Samson,"  "Elijah,"  "Creation,"  "Judas 
Maccaba-us,"  "St.  Paul,"  "Joshua,"  and 
other  well-known  works. 

Star   Spangled    Banner..      One  of 

the  most  beautiful  and  popular  of  American 
national  songs.  The  words  were  written  by 
Francis  Scott  Key,  Esq.,  (died  in  1846)  dur- 
ing our  second  struggle  with  England,  in 
1812,  and  according  to  an  eminent  writer  un- 
der the  following  circumstances  :  "A  gentle- 
man had  left  Baltimore  with  a  flag  of  truce, 
for  the  purpose  of  getting  released  from  the 
British  fleet  a  friend  of  his  who  had  been  cap- 
tured at  Marlborough.  He  went  as  far  as  the 
mouth  of  the  Patuxent,  and  was  not  permitted 
to  return,  lest  the  intended  attack  on  Balti- 
more should  be  disclosed.  He  was,  therefore, 
brought  up  the  bay  to  the  mouth  of  the  Pa  - 
tapsco,  where  the  flag  vessel  was  kept  under 
the  guns  of  a  frigate  ;  and  he  was  compelled 
to  witness  the  bombardment  of  Fort  McHenry, 
which  the  admiral  had  boasted  he  would  carry 
in  a  few  hours,  and  that  the  city  must  fall. 
lie  watched  the  Hag  of  the  fort  through  the 
whole  day,  with  an  anxiety  that  can  be  better 
felt  than  described,  until  the  night  prevented 
him  from  seeing  it.  In  the  night  he  watched 
the  bombshells,  and  at  early  dawn  his  eye 
was  again  greeted  by  the  proudly  waving  flag 
of  his  country."  It  was  while  watching  the 
progress  of  the  battle  that  night  that  Key 
wrote  the  words  which  have  now  become  im- 
mortal. The  Hag  which  was  the  source  of  his 
inspiration  was  made  by  a  Mrs.  Sanderson, 
then  a  girl  enly  fifteen  years  old,  and  present- 
ed to  Col.  George  Arinistead,  commander  of 
the  fort,  just  before  the  British  ships  came  up 
the  bay.  After  the  war  it  was  given  back  to 
Mrs.  Sanderson,  in  whose  family  it  has  since 
retrained.  The  State  of  Maryland  has  re- 
peatedly tried  to  purchase  the  valuable  relic, 
but  always  without  success.  Mrs.  Sanderson 
died  at  New  York  City,  in  1SS2,  at  the  age  of 
eighty-five  years. 

The  words    of    the    Star    Spangled    Banner 
were  adapted  to  English  music  by    F.  Dnrang 


158  HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 

when   freemr 


and  tirsl  sung  by  him  in  a  house  near  the  1 1 « » I 
iday  Theatre,  Baltimore.  The  song  was  first 
printed  by  B.  Edes  of  the  same  city.    Thefour 

stanzas    written    by    Key    are    as    follows,    to 
which  is  added  a    fifth    stanza    by    Dr.  O.  W. 
Holmes  : 
i.     (  I  say,    can  you  see  i>v    the   dawn's    earlv 


>  say,     can  you  see  by 
light, 

What  so  proudly  we  hailed    at    tl 
last  gleaming, 

Whose  stripes  and    bright    bars,    through    the  j  5 
perilous  fight, 

O'er  the  ramparts   we    watched,    were  so  gal- 
lantly streaming  ? 

And  the  rocket's  red  glare,    the    bombs  burst- 
ing in  the  air, 

(  lave  proof  through  the  night  that  our  flag  was 
still  there/ 


4.     (  >h,    thus    be   it    e\ 
stand 

Between    their    loved  home  and  war's  desola- 
tion ; 

Blest  with  victory  and  peace,  may  the  heaven- 
rescued  land, 
I  Praise  the  Bower  that  hath  made  and  preserved 
us  a  nation. 

Then    conquer  we    must,  when  our  cause  it  is 

wilight's    And  this  be  our  motto,  "In  G 


is  our  trust. 
with  liberty' 

at   be 


On  the    she 


When    our    land  is 

smile, 
If   a    toe    from    within   strike    a    bit 

glory, 
Down,    down    with    the    traitor    that  dates  to 

defile 
The   flag   of   her  stars    and    the    page   of  her 

story  I 

i  Bv  the  millions  unchained  who  our  birthright 
y    seen    through    the       -  have       inedj 

mist  of  the  deep,  We  will  keep  her  bright  blazon  forever  un- 

Where  the  foe's  haughty  host  in  dread  silence  stained  ' 

reposes, 

What  is  that  which   the  breeze,    o'er  the  tow-  j       Chorus — 1st  vers,-. 

ering  steep,  |  O   say,    does   that   star    spangled    banner   still 

As  it  fitfully  blows,    half   conceals,    half  dis-  |  wave 

closes?  O'er  the  land  of  the  free  and  the  home  of   the 

Now    it    catches   the    gleam  of  the  morning's  brave? 

first  beam, 
In    full    glory   reflected,    now    shines    in    the:       "2.na  verse. 

stream.  !  'Tis   the  star  spangled  banner,  O  long  may  it 

3.      And   where  is   that  band  which  so  vaunt- 
ingly  swore, 

'Mid    the    havoc   of  war  and  the  battle's  con- 
fusion, Last  verses. 

A    home  and    a    country  they'd   leave  us  no    And  the  star  spangled  banner  in  triumph  shall 
more  ?  wave 

Their  blood   has  washed   out    their  foul  foot-  j  While  the  land  of  the  free  is  the  home  of  the 
step's  pollution.  brave. 

No  refuge  could  save  the  hireling  and  slave 

From    the  terror  of  flight  or  the  gloom  of  the  j       The  following  is  the  melody  as  first  written, 
grave.  and  as  it  is  now  sung  : 


O'er  the  land  of  the  free  and  the  home  of  the 

brave. 


As  originally  written 


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I *-*\ 

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HANDBOOK    OF   AMERICAN    .MUSIC   AND   MUSICIANS. 


As  now  sung. 


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S? 


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isfcztit: 


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Steck,  George  A:  Co.,  New  York 
City.  This  American  piano  manufacturing 
firm  was  established  in  1X57,  by  the  present 
senior  partner,  George  A.  Steck,  who  had 
previously  worked  at  the  trade  for  a  number 
of  years.  Mr.  Steck  and  his  partners  have 
been  very  .successful,  and  their  instruments 
are  known  for  their  good  tone  and  durable 
workmanship  all  over  Europe  and  America. 
Mr.  Steck  has  taken  out  several  patents,  one 
in  1870  for  an  improvement  in  the  upright 
piano  frame. 


Steiniger-Clark,  Anna,  pianist  and 
teacher,  was  born  in  Magdeburg,  Prussia. 
!  Her  f.ither,  an  officer  in  the  Prussian  artillery, 
I  removed  to  Berlin,  but  died  soon  after,  when 
i  she  was  about  eight  years  old.  Her  musical 
;  talents  were  plainly  evident  when  she  was 
little  more  than  an  infant.  A  year  after  her 
father's  death,  she  began  her  studies  under 
the  direction  of  Agthe,  with  whom  she  re- 
mained some  time.  After  taking  a  few  lessons 
of  Ehrlich,  she  became  a  pupil  of  Kullak. 
While    under    Agthe's  care  she  had  made  her 


II  o 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


dt'but,  when  sixteen  years  old,  al  a  concert  in 
the  Royal  ( >pera  House,  Berlin,  taking  pari  in 
Mozart's  concerto  for  three  pianos.  She 
continued  her  studies  after  this,  but  all  the 
while  became  uiore  and  more  dissatisfied  with 
the  systems  of  instruction  used  by  her  teachers. 
Some  time  after,  Ludwig  Deppe  arrived  in 
Berlin,  of  whom  she  at  once  became  an  ardent 
pupil.  In  1S78,  accompanied  by  Mme.  Aafke 
Kuypers,  she  made  a  successful  tour  of  Hol- 
land, receiving" distinctions  from  the  Queen  of 
Holland.  Othei  tours  followed  until  her 
reputation  had  spread  over  the  greater  part  of 
Europe.  During  the  winter  of  1882-83  she 
made  a  tour  ol  Germany.  About  this  time 
she  met  in  Berlin  a  young  American  musician, 
Frederick  Clark,  an  excellent  pianist,  whom 
she  soon  after  married.  With  him  she  came 
to  the  United  States  in  1885,  and  made  her 
first  appearance  at  a  concert  of  the  Boston 
Symphony  Orchestra,  under  Gericke's  direc- 
tion, in  the  Music  Hall,  Boston,  playing 
Beethoven's  concerto  in  G  minor.  She  now 
resides  at  Boston,  and  devotes  much  of  her 
time  to  teaching.  She  locates  the  source  of 
power  in  playing  in  the  shoulder  region,  and 
liases  her  system  accordingly.  Frau  Steiniger- 
Clark's  playing  proclaims  her  to  he  a  true 
artist  and  one  of  the  Fust  pianists  of  our  time. 
During  the  past  season  (January  and  Febru- 
ary, 1880)  she  gave  a  series  of  six  Beethoven 
concerts  in  Chickering  Hall,  Boston.  She- 
played  the  ten  sonatas  of  Beethoven  for  piano 
and  violin,  thus  given  for  the  first  time  in 
America,  the  Eroica  variations,  sonatas  ops. 
110  and  111,  and  7,  10  and  3,  etc.,  for  piano 
solo.  Afler  this  she  was  engaged  by  Herr 
Gericke  as  piano  soloist  of  the  Boston  Sym- 
phony Orchestra  during  its  western  tour  in 
April,  when  she  played  in  Cincinnati,  Chica- 
go, Cleveland  and  other  cities. 

Steinway,  Henry  Engelhard,  well- 
known  as  founder  of  the  piano  house  bearing 
his  name,  was  horn  at  Wolfshagen,  Duchy  of 
Brunswick,  German}-,  Feb.  15,  1 7<)7-  His 
particular  genius  made  itself  manifest  in  early 
boyhobd  by  the  manufacturing  of  various  mu- 
sical instruments  for  his  own  use.  While 
still  young  he  entered  a  factory  and  learned 
the  business  of  organ  making.  In  1S49  he 
sent  his  son,  Charles,  to  this  country  to  report 
upon  the  prospects  of  piano  manufacturing, 
and  in   l8=;o  followed  with  the  rest  of  the  fam- 


ily, establishing  the  house  of  Steinway  &  Sons 
(see  succeeding  article  |.  He  remained  at  the 
head  of  the  firm  until  his  death  at  New  York, 
Feb.  7,  1871.  of  his  son,,  Henry,  Jr.,  died 
al  New  York,  March  11,  1865;  Charles,  at 
Brunswick,  during  a  European  tour,  March  31, 
18O5  ;  and  Albert,  at  New  York,  May  14. 
1S77,  the  latter  two  of  typhoid  fever.  The  busi- 
ness is  now  conducted  by  C.  F.  Theodore  and 
William  Steinway,  assisted  by  the  younger 
members  of  the  family. 

Steinway  &  Sons,  New  York  City. 
Henry  K.  Steinway  (originally  Steinwcg,  hut 
anglicised  to  Steinway),  founder  of  this  cele- 
brated piano  making  house,  was  horn  in  1797, 
at  Wolfshagen  in  the  Duchy  of  Brunswick. 
At  the  age  of  fifteen  he  was,  through  wars  and 
accidents,  the  sole  survivor  of  the  family, 
which  originally  consisted  of  twelve  persons. 
When  seventeen,  he  entered  the  army,  from 
which  he  was  honorably  discharged  on  be- 
coming of  age.  It  was  then  his  desire  to 
become  a  cabinet  maker,  but  the  guilds  re- 
quired five  years'  apprenticeship  and  live 
years'  service  as  a  journeyman  before  he 
could  become  his  own  master.  This  he  would 
not  submit  to,  and  after  working  one  year  as 
a  cabinet  maker  under  an  irregular  master,  he 
turned  his  attention  to  organ  making  and  set- 
tled at  Seesen,  a  city  of  about  3000  inhabitants 
at  the  foot  of  the  Hartz  mountains.  In  Feb- 
ruary, 1825,  he  was  married,  and  on  Nov. 
25th  of  the  same  year  his  eldest  son,  C.  F. 
Theodore,  was  born.  Mr.  Steinway  soon 
commenced  making  pianos  on  a  small  scale, 
and  as  early  as  August,  1830,  he  exhibited 
one  grand,  one  grand  square  (3  strings),  and 
one  square  at  the  state  fair  of  Brunswick.  The 
business  had  reached  large  proportions  when 
it  was  seriously  crippled  by  the  Prussian 
"Zollverein"  in  1845,  £lr"'  totally  destroyed 
by  the  Revolution  of  1848.  The  remote 
thought  of  some  lime  emigrating  to  America 
now  became  an  ever  present  one,  and  in 
April,  1849,  Charles,  his  second  son,  was  sent 
over  to  inspect  the  ground.  So  favorable 
were  the  reports  made  that  the  next  year  the 
whole  family,  with  the  exception  of  Theodore, 
who  remained  behind  to  complete  unfinished 
work,  came  to  the  United  States,  landing  at 
New  York,  June  5,  1850.  On  their  arrival 
the  family  consisted  of,  besides  the  father 
and     mother,     four    sons    (not    counting  Then- 


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K.I 


dore),    Charles,    Henry,  William   and  Albert,  j 
and    three    daughters.      For    three     years    the 
father  and  eldest  sons  worked  in  various  man- 
ufactories that  they  might  become  thoroughly 
familiar  with  the  American  trade.      In  March, 
1853,    'hey    united    and    formed    the    firm    of 
Steinway  &  Sons.     Their    headquarters  were  j 
at  first  on  Varick  street,    but  increase  of  busi-  j 
ness   necessitated    one    removal  after  another.  I 
In     1855    they    exhibited   a   square   piano,  the 
iron  frame  of  which  combined  the  overstrung 
scale    with    the  single   casting.      In  1858  they  : 
purchased    the    plot   of    ground     bounded    by  ' 
Fourth   and    Lexington  avenues  and  52nd  and 
53rd    streets,    on    which  their  present  factory 
was    erected.     The    fine    marble    building  on 
East    14th    St.    was    built    in    1863,  and  three 
years    later   the    well-known    Steinway    Hall, 
located  on  the  same  lot,    was    opened    to    the 
public.     To  such  an  extent  did  their  business 
increase    that    in    1870  and    1871  they  bought 
several  hundred  acres  of  land  at  Astoria,  L.  I. 
(opposite  100  to  120th  sts.  ),  on  which  a  steam 
saw-mill,    iron  and  brass   foundries,  etc.,  were 
erected.      Henry,    the   third   son,    died  March 
11,  1865,  and  Charles,  the  second  son,  March  j 
31  of  the  same  year,  in  Brunswick,  while  on  a 
European    tour.     In    consequence*    Theodore 
gave    up   his    business    in    Brunswick  and  be-  , 
came    a    partner    of    the     New     York    firm. 
Henry,  the  father,  died  at  New  York,  Feb.  7, 
1871.     The  firm  now  (18S6)  consists  of  C.  F. 
Theodore  Steinway,  William  Steinway,  Henry 
W.  T.  Steinway,  Charles   If.  Steinway,  Fred- 
erick T.  Steinway,  Henry  Ziegler,  and  George  j 
A.   Steinway.      In     1875    they     opened    ware- 
rooms   at    15    Lower  Seymour  street,  London, 
with    a    concert    hall    attached,  and   in  1SS0  a 
branch  establishment  was  opened  at  No.  20-24  I 
Neue      Rosenstrasse,     Hamburg,      Germany.  J 
They    have,    besides,    agencies    all   over    the 
world.      It  is  hardly  necessary  to  add  anything 
in   praise   of  their  pianos,  fir  they  are  known  j 
and  esteemed   all    over   the   world,  having  in- 
variably taken  first  prizes  wherever  exhibited. 

Sterling1,  Antoinette,  was  bom,  ac- 
cording to  Grove's  "Dictionary  of  Music  and 
Musicians,"  at  Sterlingville,  N.  Y.,  Jan.  23,  | 
1850.  In  1867  she  went  to  New  York  and 
placed  herself  under  the  care  of  Sig.  Abella. 
She  then  went  to  Europe  and  studied  with 
Mme.  Marches)  at  Cologne,  Pauline  Viardot  I 
at  Baden-Baden,    and   Manuel  Garcia  at  Lon- 


don. On  returning  to  the  United  States,  in 
1871,  she  was  well  received  as  a  concert  sing- 
er. May  13,  1873,  she  gave  a  farewell  con- 
cert at  Irving  Hall,  Boston,  and  then  went  to 
England,  where  she  made  her  first  appear- 
ance at  the  Promenade  Concerts,  Covent  Gar- 
den, Nov.  5th.  She  soon  became  very  popu- 
lar, and  in  1875  was  married  to  John  Mac- 
Kinlay,  since  when  she  has  resided  at  Lon- 
don. Her  voice  is  a  contralto  of  great  rich- 
ness, volume  and  compass. 

Stickney,  John,  one  of  the  early  Amer- 
ican psalmodists,  was  bom  at  Stoughton, 
Mass.,  in  1742.  He  traveled  from  place  to 
place  throughout  the  New  England  States, 
and  became  well-known  as  a  teacher,  com- 
poser, and  publisher  of  music.  In  1774  he 
issued  "The  Gentlemen  and  Lady's  Musical 
Companion,"  printed  by  Daniel  Bailey  of 
Newburyport.  It  is  a  small  collection  of 
psalms,  anthems,  etc.,  with  rules  for  learning 
to  sing.  He  finally  settled  at  South  Hadley, 
and  died  in  1826.  His  wife  was  also  a  good 
singer  and  teacher. 

St.  l^Ollis.  The  first  musical  society  to 
attain  any  degree  of  permanence  and  general 
popularity  in  this  city  was  the 

PHILHARMONIC. 
It  was  organized  in  i860,  and  for  ten  years 
exercised  a  most  healthful  influence  in  the 
growth  of  local  musical  art.  Charles  Balmer 
was  the  president  and  the  leading  spirit  of  the 
organization,  and  the  conductors  were  Edward 
Sobolewski  and  Egmont  Frolich,  the  latter 
during  the  last  three  seasons.  Both  choral 
ami  orchestra]  works  were  performed  at  pub- 
lic concerts,  with  frequent  semi -public  soirees 
for  the  rendition  of  smaller  compositions. 

There  are  a  large  number  of  singing  socie- 
ties among  the  German  population,  the  most 
prominent  of  which  are  the 

LlF.DEKlvKANV.     and     AR.ION. 
Botli  of  these  societies  have  sung  with    honor 
at    the    great  sangerfests  held  in  various  parts 
of  the  country. 

THE    HAYDN    ORCHESTRA 
flourished  a  few  seasons,   but  succumbed,  like 
its  predecessi  rr, 

THE    PHILHARMONIC, 
to  financial  troubles.    Numerous  choral  socie- 
ties for  the  production    of    oratorios,     cantatas 
and    light    operas,    have  been  organized  from 
time    to     time,      but    only    to     attain    a    brief 


HANDBOOK    OF    AMERICAN    MUSK'    AND    MUSICIANS. 


existence. 

Three  or  four  years  ago,  however,  a  musi- 
cal revival  set  in,  and  one  of  the  first  expres- 
sions was  the  formation  of  the 

SI  .     LOUIS    CHORAL    SOCIETY. 

Good  performances  of  the  "Messiah,"  "Det- 
tingen  Te  Deum,"  "Elijah,"  and  other  large 
works,  have  been  given  by  this  society,  under 
the  direction  of  Joseph  Olten,  and  the  public 
interest  seems  to  warrant  expectations  of  per- 
manence. 

Idle  present  season  (  1883)  has  been  signal- 
ized by  another  organization,  which  has 
called  itself 

THE    SHAW    MUSICAL    SOCIETY, 

in  honor  of  Henry  Shaw,  Esq.,  one  of  the 
most  philanthropic  and  distinguished  citizens 
of  St.  Louis. 

A  few  seasons  ago  the 

ST.  LOUIS  MUSICAL  UNION 
was  founded  for  the  purpose  of  producing  good 
orchestral  works.  It  is  a  complete  orchestra 
of  55  instrumentalists,  and  their  work,  under 
the  leadership  of  Augusf  Waldauer,  is  exert- 
ing an  excellent  influence.  A  series  of  six 
concerts  are  given  by  subscription  during  the 
winter. 

Various  efforts  to  found  and  maintain  cham- 
ber concerts  have  been  made  at  different  times,  I 
and    now    St.    Louis    is    the    possessor  of  two 
siring  quintets,  known  respectively  as 
THE  PHILHARMONIC   ami    THE  MENDELSSOHN.  1 
Both  have  good    metal,    and    the    first-named  j 
has  given  a  series  of  excellent    concerts  every 
season   for    the  last  three    or  four  years.      The  | 
latter  is  a  recent  organization. 

For  chamber  concerts  St.  Louis  has  one  of 
die  most  charming  and  suitable  halls  in  the  I 
world,  viz.:  the  Memorial  Hall  attached  to 
t he  Art  Museum.  For  larger  conceits  the 
Mercantile  Library,  Philharmonic,  and  Tem- 
ple halls  have  long  clone  unsatisfactory  duty. 
The  city  is  now  on  the  eve  of  coming  into 
possession  of  a  grand  Exposition  and  Music 
Hall,  which  will  equal  or  surpass  any  effort  of  | 
the  kind  Ihus  far  made  in  this  country.  The 
plans  call  for  a  grand  hall  to  seat  4000  spec- 
tators, with  stage  room  for  a  colossal  organ 
and  1000  persons,  and  a  smaller  hall  to  seat 
1200  persons.  Hie  stock  is  all  subscribed  for, 
and  the  autumn  of  1S84  will  witness  the  St. 
Louis  Music  Hall  an  accomplished  fact. 

Of  conservatories    and  schools  of  music,  St. 


Louis  has  its  quota.      Besides  the  BEETHOVEN 

CONSERVATORY,  mentioned  under  its  own 
heading,  there  are  a  College  of  Music  con- 
ducted by  M.  J.  and  A.  J.  Epstein,  and  a 
small  institution  called  the  Haydn  Conserva- 
tory. Musical  talent  is  abundant,  and  the 
members  of  the  musical  profession  are,  as  a 
class,  thoroughly  respectable  and  competenl, 
numbering  among  their  ranks  several  in  li- 
viduals  ol"  marked  ability  and  extended  repu- 
tation. 

For  several  years  considerable  encourage- 
ment has  been  given  by  the  churches  toward 
the  development  of  good  church  music,  and 
there  are  now  several  choirs  which  will  com- 
pare favorably  with  the  best  in  sister  cities. 
The  Second  Baptist  Church  takes  the  lead  in 
this  direction,  with  E.  M.  Bowman  as  its  di- 
rector and  organist.  Of  the  other  churches 
noted  for  their  good  music  are  the  Messiah, 
Si.  George's,  First  and  Second  Presbyterian, 
Pilgrim,  St.  Xavier's,  St.  John's  (Catholic), 
and  Shaare  Emeth. 

Stoughton  Musical  Society  (The), 

STOUGHTON,  Mass.  ddiis  is  the  oldest  exist- 
ing musical  society  in  America,  and  seems  to 
have  sprung  from  the  labors  of  William 
Billings.  It  was  organized  Nov.  7,  178.6, 
after  the  close  of  the  Revolutionary  war.  Its 
first  president  and  leader  was  Elijah  Dunbar, 
Esq.  The  annual  meeting  of  the  members 
takes  place  on  Christmas  day,  and  in  the  eve- 
ning a  concert  and  supper  is  given.  The 
membership  is  now  rive  hundred,  drawn  from 
Stoughton  and  surrounding  towns.  It  was 
exclusively  male  until  a  few  years  ago,  when 
ladies  were  admitted,  though  they  had  long 
sung  in  the  chorus.  The  Society  published 
in  1828  a  compilation  of  church  music,  and  in 
1878  the  "Stoughton  Musical  Society's  Col- 
lection of  Sacred  Music,"  a  volume  contain- 
ing many  pieces  by  early  American  compo- 
sers, which  are  thus  saved  from  being  lost. 
The  present  president  of  the  Society  is  Mr. 
Winslow  Battles. 

Ktrakosch,  Maurice,  was  horn  at  Lem- 
berg,  Galicia,  in  1825.  His  father,  who  was 
wealthy,  removed  to  Germany  in  1 828,  and 
there  the  young  man  had  every  opportunity 
of  gratifying  his  passion  for  music.  He  be- 
came a  fine  pianist,  and  alter  completing  his 
education  traveled  from  Denmark  to  Russia. 
At  St.  Petersburg  he  was    received    with    1  s 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIAN! 


necial  favor.  Returning  to  Paris,  he  spent 
three  years  in  traveling  in  France,  Spain  and 
Italy,  being  everywhere  well  received.  In 
1848  he  came  to  the  United  States,  and  has 
since  made  it  his  permanent  home  at  New- 
York.  He  .married  Amalia  Patti.  His  repu- 
tation is  now  almost  exclusively  that  of  an 
impresario,  in  which  capacity  he  has  acted  for 
50  years,  having  organized  his  first  company 
in  1855. 

StralvOS<'3l,  Max.  brother  of  the  prece- 
ding, -was  born  in  1834.  He  is  finely  edu- 
cated, ami  is  said  to  fluently  speak  several 
languages.  He  came  to  this  country  and  was 
at  first  associated  with  his  brother  as  business 
manager.  When  Maurice  went  to  Europe  in 
1859  with  his  sister-in-law,  Amalia  Fatti,  he 
became  general  manager.  Among  the  famous 
artists  which  have  traveled  under  the  man- 
agement of  the  brothers  are  Thalberg,  Mine. 
Farodi,  E.  Mollenhauer,  Mme.  la  Grange, 
Mme.  d'Angri,  Mine.  Frezzolini,  Karl  Formes, 
Brignoli,  Amadio,  Barili,  Mme.  Gazzinga, 
Adelina  Fatti,  Natali,  Gottschallc,  Carlotta 
Fatti,  Carlo  Fatti,  Wehle,  Errani,  Mancusi, 
Mme.  Farepa-Rosa,  Miss  Kellogg,  Mile. 
Nilsson,  Miss  Cary,  Yieuxtemps,  Capaul, 
Mario,  Mile.  Torriani,  Campanini,  lei  Puente, 
Mile.  Lucca,  Mile,  di  Murska,  Mile.  Albani, 
Mile.  Heilhron,  Carpi,  de  Bassini,  Tagliapie- 
tra,  Mme.  Tietjens,  Mme.  Goddard,  Mme. 
Carreno,  Tom  Karl,  Mme.  Roze,  Mile.  Fi'.ta, 
C.  R.  Adams,  and  La-zarini. 

Sll(l<ls,  William  F.,  was  bom  at  London, 
England,  March  5,  1843.  When  seven  years 
of  age,  his  parents  came  to  the  United  States 
and  located  on  a  farm  near  Gouverneur,  St. 
Lawrence  Co.,  X.  Y.  His  musical  tastes 
manifested  themselves  at  an  early  period,  so 
that  by  the  time  he  was  fifteen  he  could  play 
the  violin,  guitar,  flute,  cornet,  and  violon- 
cello. A  year  or  two  later  he  was  permitted 
to  practice  on  the  piano  of  a  friend,  and  most 
eagerly  did  lie  avail  himself  of  the  oppor- 
tunity, walking  three  miles  rfter  the  day's 
work  for  that  purpose.  Soon  after  the  com- 
mencement of  the  Civil  War  he  entered  tin' 
army,  and  it  was  while  a  convalescent  soldier 
at  the  hospital,  New  Orleans,  in  1864,  that  he- 
took  his  first  regular  music  lessons  of  a  French 
professor.  Nine  years  later  he  was  a  pupil 
at  the  Boston  Conservatory  of  Music,  where 
he   studied  the  organ   under    Eugene  Thayer, 


and  the  violin  and  composition  under  Julius 
Eichberg.  Mr.  Sudds  is  located  at  Gouver- 
neur, where  he  keeps  a  fine  music  store,  ad- 
joining which  is  a  studio.  He  is  organist  of 
the  First  Baptist  Church,  and  until  recently 
had  charge  of  the  musical  department  of 
Gouverneur  Seminary.  On  account  of  the 
growing  demands  of  his  publishers,  he  has 
to  reject  many  applications  for  instruction  in 
music.  In  appearance  lie  is  tall  and  well 
proportioned,  walks  in  a  vigorous,  energetic 
manner,  and  is  quite  near-sighted,  hut  does 
not  wear  glasses  in  the  street,  hence  he  often 
passes  his  friends  without  recognition.  Mr. 
Sudds'  music  comprises  nearly  every  kind  of 
composition,  both  vocal  and*  instrumental. 
Some  of  his  pieces  have  become  very  popular 
ar.d  all  of  them  find  a  ready  sale,  as  may  be 
inferred  from  the  fact  that  his  income  from 
his  musical  works  alone  is  several  thousand 
dollars  per  annum.  Of  his  pieces  of  higher 
order  may  he  mentioned  "Sky  Lark,"  "Slum- 
ber Song,"  "Trust  her  not,"  etc.  His  num- 
bered works  run  up  to  140,  besides  which  he 
has  written  a  large  quantity  cf  fugitive  and 
unnumbered  pieces.  The  following  is  a  list 
of  his  more  important  productions  : 

Books. — Anthem  (Jems,  vol.  1  ;  Anthem 
Gems,  vol.  2;  National  School  for  the  Piano- 
forte, 1881,  an  excellent  work  which  has  been 
highly  commended  ;  National  School  for  the 
Pianoforte,  abridged;  National  Guide  to  Reed 
Organ  Playing;  Parlor  Organ  Treasury;  Part 
Song  Galaxy;  Quartet  Choir  Collection. 

Songs  and  Part  Songs  — Douglass  Tender 
and  True,  Guess  Who,  What  Pack  the  Val- 
leys? What  Cares  the  World'  for  Me  ?  Slumber 
Song,  The  Sky  Park,  I  Love  My  Love,  Twi- 
light on  the  Sea,  Honor  the  Brave,  What 
Care  I  how  fair  She  be  ? 

Instrumental. — Sounds  at  Day  Dawn; 
1st  Grand  Valse  Brilliante,  2nd  do,  3rd  do  ; 
American  Triumphal  March  ;  Message  of 
Love,  polka;  Message  of  Love,  waltz  ;  Bells 
of  Shannon,  morceau  ;  Elfin  Dances,  3  nos., 
op.  87;  Evening  Hour,  op.  84;  Enchantment, 
polonaise,  op.  91;  I.e  Sou  Doux,  reverie,  op. 
102;  Realms  of  Fancy,  morceau,  op.  114; 
Poire  d'Elite,  waltz  brilliante,  op.  115;  As 
Twilight  Falls,  nocturne,  op.  120;  Shepherd 
Girl,  morceau,  op.  121  ;  Bon  Ton,  galop,  op. 
127;  Dance  of  the  Fairies,  waltz  brilliante, 
op.  128;  Days  that  are  Gone,  reverie,  op.   [36. 


t64 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


Sulleril,  j-  William,  was  born  at  Suf- 
ferns,  N.  Y.,  Nov.  i,  1820.  He  commenced 
teaching  music  at  the  age  of  twenty  years,  and 
has  held  several  positions  as  organist.  He  is 
well-known  throughout  the  Western  States  as 
a  conductor  of  musical  conventions,  in  which 
work  he  has  been  much  engaged.  lie  has 
compiled  and  edited  several  collections  of 
music,  and  composed  numerous  pieces.  His 
residence  is  at  New  York  City. 

Swan,  Timothy,  one  of  the  early  Amer- 
ican psalmodists,  was  of  Scottish  descent,  and  1 
was  born  at  Worcester,  Mass.,  July  23,  1758. 
He  began  to  teach  music  at  the  age  of  seven- 
teen years,  and  in  1S01,  while  residing  at 
Sheffield,  published  THE  NEW  ENGLAND  HAR- 
MONY. It  was  printed  at  Northampton,  by 
Andrew    Wright,    and    contained    104   pages. 


A  copy  <>f  the  hook  was  presented  to  the  Har- 
vard Musical  Association,  by  the  author,  Oct. 
26,  184I.  After  publishing  his  book  he  re- 
move.1  to  Vermont,  but  finally  returned  and 
settled  at  Northheld,  Mass.,  where  he  died 
July  23,  1S42,  respected  and  beloved  by  all 
who  knew  him.  Some  of  his  tunes  still  hold 
their  place  in  books  of  psalmody,  among 
which  are  "China,"  "Pownal"  and  "Poland." 

Sweet  Bye  and  Bye.  A  simple  mel- 
ody and  refrain,  composed  by  J-  P.  Webster, 
an  American  composer,  but  of  whom  little  is 
known.  It  is  one  of  the  most  popular  relig- 
ious tunes  ever  written,  and  is  sung  in  every 
civilized  country  of  the  world.  The  melody 
has  formed  the  theme  of  variations  by  differ- 
ent composers.  The  words  are  by  S.  F. 
Bennett. 


Talc  of  the  Viking,  The.  A  can- 
tata founded  on  the  old  legend  of  the  same 
name,  by  George  E.  Whiting.  For  solos, 
chorus  and  orchestra.  Written  about  1875. 
Published  by  Schirmer  of  New  York. 

Taylor,  Samuel  Priestly,  organist,  was 
born  at  London,  England,  in  1779,  and  was 
able  to  play  the  organ  when  only  seven  years 
old.  In  1806  he  came  to  the  United  States 
and  settled  in  Brooklyn,  holding  several  posi- 
tions as  organist  there  and  in  New  York,  and 
giving  instruction  on  the  organ,  piano,  violin, 
violoncello,  and  clarinet.  He  entered  one  of 
the  bands  during  the  war  of  1812,  and  was 
president  of  the  old  Philharmonic  Society. 
In  1819  he  removed  to  Boston,  and  was  or- 
ganist of  the  Handel  and  Haydn  Society  for 
two  years.  While  there  he  compiled  a  popu- 
lar organ  instruction  book.  He  returned  to 
Brooklyn  in  1826,  where  he  continued  to 
teach  until  1864,  and  to  play  the  organ  up  to 
the  advanced  age  of  ninety-two  years.  He 
was  still  living  in  1S74. 

Thayer,  Alexander  Wheelock,  U.  S. 
Consul  at  Trieste,  Germany,  was  born  at 
South  Natick,  Mass.,  Oct.  17,  181 7.  He  is  a 
frequent  contributor  to  the  American  musical 
press  and  the  author  of  numerous  articles  in 
Grove's  "Dictionary  of  Music  and  Musicians," 
but  he  calls  for  mention  here  on  account  of 
his  "  Life  of  Beethoven"  (Ludwig  von  Bee- 
thoven's Leben,"  a  work  which  far  surpasses 
all  others  in  accuracy  and  extent  of  research. 
The  first  volume  was  published  at  Berlin  in 
1866,  the  second  in  1872,  and  the  third  has 
just  appeared. 

Thayer,  Dr.  Eugene,  one  of  America's 
most  celebrated  organists,  was  born  at  Mendon, 
Ma>s.,  Dec.  11,  1838.  He  early  manifested  a 
love  for  music,  but  did  not  begin  the  study  of 
the  organ  until  the  age  of  fourteen.  In  1862 
he  was  called  to  Boston  by  the  inauguration 
of  the  great  organ  in  the  Music  Hall,  being 
one  of  the  performers  on  that  occasion.  His 
reception  was  cordial  and  secured  him  a  high 
place  in  Boston  musical  affairs,  which  he  con- 


tinued to  hold  for  nearly  twenty  years.  In 
1865  and  1866  he  was  in  Europe,  studying 
with  Haupt,  Wieprecht  and  other  masters, 
and  afterwards  visited  and  played  upon  all  the 
famous  organs  of  the  Old  World.  For  many 
years  he  held  the  highest  positions  in  Boston, 
having  been  organist  of  the  Music  Hall,  edi- 
tor of  the  "Organist's  Journal"  and  of  the 
"Choir  Journal,"  director  of  the  "Boston 
Choral  Union,"  of  the  "New  England  Church 
Music  Association,"  and  of  many  other  socie- 
ties. He  is  virtually  the  originator  of  free 
organ  recitals  in  this  country,  having  given 
the  first  one  April  10,  1869,  in  the  old  Hollis 
Street  Church,  Boston.  Since  that  time  he 
has  given  many  hundreds  elsewhere  and  has 
performed  over  three  thousand  times  in  public 
in  the  leading  cities  of  America  and  Europe. 
These  recitals  have  exercised  no  little  influ- 
ence in  raising  the  standard  of  musical  taste. 
He  has  delivered  many  lectures,  and  is  a  con- 
tributor of  acknowledged  ability  to  various 
magazines  and  journals.  On  all  matters  per- 
taining to  the  organ  he  is  one  of  the  first  au- 
thorities. In  1881  he  accepted  a  call  to  the 
Fifth  Avenue  Presbyterian  Church  (Rev.  Dr. 
John  Hall's),  New  York,  and  has  since  resided 
in  that  city,  devoting  his  time  to  church  com- 
position, teaching  and  invention.  He  is  the 
inventor  of  several  valuable  patents.  His 
degree  of  Doctor  of  Music  was  earned  by 
passing  the  Oxford  test,  his  composition  being 
a  cantata  for  soli  and  chorus,  in  eight  real 
parts,  with  full  orchestral  accompaniment. 
He  has  also  written  other  compositions,  both 
published  and  unpublished. 

The  Corsicau  Bride.    An  opera  by 

Edward  Mollenhauer.  It  was  produced  at 
j  Winter  Garden,  New  York,  in  1S62.  Artisti- 
;  cally  it  was  a  success  but  financially  a  failure, 
j  owing  to  the  unsettled  condition  of  the  country 


under  favorable  circumstances,  it  would  prob- 
ably have  met  with  the  success  which  it 
deserved. 

Thomas,    THEODORE,    one  of  America's 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


[on  mosl  conductors,  was  born  at  Ostfriesland, 
Hanover,  Oct.  u,  1835.  When  ten  years  of 
age  (1845)  he  came  to  this  country  with  his 
parents.  He  had  been  taught  the  violin  by 
his  father,  n  good  violinist,  and  after  arriving 
he  i1  was  for  some  time  engaged  as  (  rche  li  il 
player  in  theati  ■-,  min  itn  !  '  oupes,  and  opera 
and  concert  companies.  In  1853  he  joined 
the  Philharmonic  Society,  having  previously 
tried  his  hand  at  conducting  both  German  and 
Italian  ope;;:,  but  resigned  his  membership 
in  1S5S.  The  same  year  he  commenced,  in 
conjunction  with  William  Mason,  Carl  Berg- 
man!!, J.  Mosenlhal,  and  George  Matzka,  a 
Jt>s  of  classical  music,  which  wen- 
continued  two  or  three  seasons.  Soon  after  he 
began  the  organization  of  his  orchestra,  and 
in  1S64  commenced  his  symphony  concerts  at 
[rving  Hall.  These  concerts  met  with  con- 
siderable opposition  at  first,  but  soon  came  to  '. 
J>e  recognized  as  one  of  New  York's  chief 
musical  institutions.  They  were  continued  j 
until  1878.  In  1866  Mr.  Thomas  originated 
the  "  Summer- Night  Concerts"  at  Central 
Park  Garden.  In  order  to  keep  Ids  orchestra 
together,  he  began  traveling  with  it  during 
the  winter  season,  Imt  this  undertaking  did  not  I 
prove  a  financial  success  and  had  to  he  aban- 
doned. In  1878  he  accepted  the  position  of 
director  of  the  newly-established  College  of 
Mud-,  Cincinnati,  but  resigned  the  post  in 
18S1  and  returned  to  New  York,  where  he  i 
now  resides  and  holds  various  positions  as 
conductor. 

Mr.  Thomas  has  conducted  all  of  the  Cin- 
cinnati May  Festivals  thus  far,  beginning  with 
1873,  and  tho.se  of  New  York  and  Chicago  of 
At  the  most  of  them  his  orchestra  was 
engaged.  During  the  present  summer  (1883) 
hi  i  tour  with  his  orchestra  includes  the  princi-  ] 
pal  cities  from  New  York  to  San  Francisco. 
At  Chicago  he  gives  six  weeks  of  "Summer- 
Night  Concerts."  It  is  almost  solely  as  a  con- 
ductor that  he  has  achieved  Ids  present  high 
position.  While  he  possesses  many  social 
qualities,  he  wields  the  b&ton  with  a  nun  hand, 
and  i'i  consequence  his  orchestra  has  tea  he  i 
a  degree  of  proficiency  rarely  attained  by  any 
simiiar  organization,  either  in  this  country  or 
Europe.  l!is  programs  are  of  the  highest 
order,  on  which  the  old  and  new  masters  are 
fairly  represented.  Ii  is  not  too  much  to  say- 
that   he  has  done  as  much  as  almost  any  i  thei 


person  in  raising  the  st;  ndard  of  music  in  this 
country.  Thus  far  lie  has  not  appeared  in  the 
■  ompo    ■: . 

Thomas,  John  K .,  songwriter,  was  horn 
at  Newport,  South  Wales,  in  1N30,  and  can  e 
to  the  United  Stati  s  at  an  earl)  age.  For 
some  time  he  was  connected  with  a  minstrel 
troupe  on  Broadway,  ami  later  with  the  Seguin 
English  opera  company,  assuming  the  role  of 
Count  in  the  "Bohemian  Girl"  and  various 
other  characters.  He  finally  permanently 
settled  at  New  York,  where  he  still  (Juno, 
18S5)  resides  with  Ids  wife  and  family.  Mr. 
Thomas  is  chiefly  noted  for  his  songs,  both 
sacred  and  secular,  some  of  which  have  be- 
come very  popular.  Among  his  best  known 
and  most  important  productions  are  "Annie  <  f 
the  Vale,"  "Cottage  by  the  Sea,"  " 'Tis  but 
a  little  Faded  Flower,"  "Mother  Kissed  me 
in  my  Dreams,"  "Beautiful  Isle  of  the  Sea," 
"The  Owl,"  "Fishes  111  the  Sea,"  "Sweet  be 
thy  Repose,"  "Against  the  Stream,"  "  [an- 
ette,"  "Angel  Voices,"  "Land  of  Dreams," 
"The  Hand  that  Rocks  the  World."  "The 
Voice  of  Effie  Moore,"  "  Eileen  Alanna," 
"Seek  and  ye  shall  find"  (sacred),  "No 
Crown  without  the  Cross"  (sacred),  "The 
Mother's  Prayer,"  "Flag  of  the  Free"  (patri- 
otic),   "May  Cod  Protect  Columbia,"  etc. 

Thompson,  Will  L.,  was  bom  at  bast 
Liverpool,  Ohio,  Nov.  7,  [849.  He  com- 
menced the  study  of  music  when  eight  years 
of  age,  and  at  seventeen  went  to  Boston  and 
tool,  a.  regular  course  under  the  best  teachers 
there.  He  afterward  went  to  Leipzig  and  re- 
ceived private  lessons  for  some  time.  Mr. 
Thompson's  ambition  was  to  become  a  writer 
of  songs  for  the  masses,  ami  in  this  In'  has 
been  eminently  successful.  In  1874,  while 
spending  a  season  at  the  seashore,  he  wrote 
the  popular  songs,  "Gathering  Shells  from 
tl.o  S<  a-Shore"  and  "Drifting  with  the  1  tde," 
which  lie  offered  to  a  well-known  music-pub- 
lisher for  $25  each.  Fortunately  for  him,  his 
offer  was  not  accepted,  anil  he  determine. I  to 
go  into  the  publishing  business  himself.  Ac- 
cordingly he  opened  an  establishment  at  East 
Liverpool,  Ids  native  place,  and  his  songs  a.t 
once  sprung  into  popularity.  "Gathering 
Shells"  alone  reached  the  enormous  sale  of 
265,000  copies.  lie  has  written  about  fifty 
songs,  all  of  which  have  been  successful. 
"Come  Where   the  Lilies   Bloom"  is  perhaps 


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167 


his  most  popular  quartet.  Few  American 
composers  have  gained  a  greater  reputation 
in  writing  popular  music  for  (lie  masses  than 
Mr.  Thompson. 

Ttmrsby,  Emm  y  C.,was  horn  at  Brooklyn, 
N.  Y.,  Nov.  17,  1857.  Her  father  was  of 
English  descent  and  her  mother  came  of  one 
of  the  old  Knickerbocker  families.  She  first 
studied  with  Julius  Meyer  of  her  native  city, 
and  subsequently  with  Sig.  Errani  of  New 
York  and  Mine.  Rudersdorff  of  Boston.  She 
then  went  to  Italy  and  studied  for  some  time 
under  Lamperli  and  San  Giovanni.  On  her 
return  to  this  country  she  appeared  in  concerts 
and  oratorios,  but  did  not  attempt  any  operatic 
rdlcs.  Her  fi'st  concert  was  given  at  Plymouth 
Church,  and  proved  to  be  a  great  success.  In 
1875  sll(J  was  engaged  by  P.  S.  Gilmore  for  his 
popular  summer-night  concerts,  and  when  he 
afterwards  traveled  with  his  military  band  she 
accompanied  him  as  the  leading  vocalist.  In 
consequence,  her  reputation  soon  became  a 
national  one,  and  she  was  offered  and  accepted 
an  engagement  as  singer  in  Dr.  Taylor's 
church,  Xew  York,  at  a  salary  cf  $3000  per 
year.  She  was  subsequently  engaged  by 
.Maurice  Strakosch,  and  under  his  manage- 
ment went  to  Europe,  singing  in  concerts  at 
London,  Liverpool,  Paris,  Cologne,  and  other 
places.  In  England  especially  she  was  very 
warmly  received  and  made  many  friends. 
During  the  season  of  1879-80  she  traveled 
throughout  die  United  States,  and  became  a 
gen  ml  favorite.  Since  that  time  she  has  fre- 
quently sung  both  in  this  country  and  Europe. 
Miss  Thursby  occupies  a  leading  position 
among  America's  concert  singers. 

Tillim,  HENRY  C,  was  bom  at  Hamburg, 
Germany,  July  n,  1S11,  and  studied  under 
VIethfcssel  and  Jacob  Schmitt.  In  1835  he 
came  to  the  United  Slates,  and  made  his  firsl 
appearance  as  a  pianist  at  the  old  Park  The- 
atre, New  York,  playing  Hummel's  Hondo 
Brilliant,  in  A.  tie  accepted  the  post  of  sec- 
ond horn  player  in  the  orchestra  of  the  same 
theatre,  and  occasionally  played  piano  solos 
between  the  acts.  Later  on  he  traveled  as 
director  with  a  sort  of  operatic  company 
which  gave  peiformances  in  the  Southern 
States,  lie  has  held  positions  as  organist  in 
various  New  York  churches,  was  one  of  the 
founders  of  the  New  York  Philharmonic  So 
ciety,    and   for  many   years  its  president.      He 


also  occasionally  officiated  as  conductor,  and 
tor  several  years  w  s  the  piano  accompanist. 
Latterly  his  lime  has  mostly  been  devoted  to 
teaching.  He  has  composed  numerous  works, 
but  lew  of  them  have  been  published.  For 
nearly  half  a  century  he  has  labored  in  the 
best  interest  of  musical  art,  and  may  justly  be 
considered  one  of  its  pioneers  in  this  counti  y. 
Of  a  kind,  amiable  disposition,  he  is  highly 
respected    by  all  who  know  him. 

Toedt,  Theodore  J.,  was  born  in  New 
York  about  thirty-five  years  ago.  [lis  musi- 
cal education  was  mostly  gained  from  his  sis- 
ter, a  good  sob,  violinist.  He  is  a  member  of 
the  choir  of  St.  Bartholomew's  Church,  and 
has  frequently  appeared  as  a  conceit  and  ora- 
torio singer  in  the  principal  cities  of  the 
Union,  with  a  fair  amount  of  success.  He 
sang  in  the  New  York  May  Festival  of  1S82. 
His  voice  is  a  tenor  of  pleasing  quality  but 
limited   power. 

Tonilins,  William  L.,  conductor  and 
teacher,  was  bom  in  England  about  1844. 
He  studied  music  in  die  tonic  sol-fa  schools, 
and  with  ('..  A.  Macfarren  and  Edourd  Silas. 
In  18(9  he  came  to  New  York,  and  from 
thence  went  to  Chicago,  where  he  still  (  July, 
1885)  resides  as  conductor  and  teacher  of 
vocal  music. 

T0Urj6e,  Dl:.  EBEN,  who  must  be  reek- 
one  1  among  the  leading  American  educators, 
and  who  is  well  known  as  the  founder  and 
head  of  the  New  England  Conservatory  of 
Music,  was  born  at  Warwick,  R.  U,  June  1, 
1S34,  and  is  one  of  the  descendants  of  the 
French  Huguenots  who  fled  to  this  country 
soon  after  the  Edict  of  Nantes  and  settled  in 
Narragansett.  When  only  eight  years  old  lie 
was  working  in  a  factory  at  East  Greenwich, 
and  being  compelled  to  struggle  with  poverty 
he  found  little  opportunity  to  gratify  his  musi- 
cal inclinations,  which  even  then  began  to  be 
manifested.  By  rigid  economy  he  managed 
to  attend  the  Academy  at  East  Greenwich  for 
some  time,  and  at  eleven  became  the  chorister 
in  the  Methodist  church  in  I'henix.  The 
choir  was  at  that  time  one  of  the  best  in  the 
country.  Soon  after  he  became  a  pupil  of 
Henry  Eastcot  of  Providence,  an  1  speedily 
received  the  appointment  of  church  organist. 
By  the  time  he  had  reached  the  age  of  sc\i  11- 
teen  He  was  a  clerk  in  a  Providence  music 
Store,     and    two    years    later    became  a  dealer 


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HANDBOOK    OF   AMERICAN    MUSIC    AND    MUSICIANS. 


himself  at  Fall  River.  He  also  taught  music 
in  the  public  schools,  and  edited  "The  Key 
Note,"  which  was  afterward  merged  into  the 
"Massachusetts  Musical  Journal,"  under  his 
care.  During  this  time  he  dilligently  studied 
under  the  hest  Boston  teachers.  In  1856  he 
went  to  Newport,  R.  I.,  as  organist  of  Trinity 
Church,  and  was  an  instructor  in  music,  con- 
ductor of  choral  societies,  etc.  As  early  as 
1853  he  introduced  and  used  the  class  or  con- 
servatory system  of  teaching,  with  over  500 
pupils.  Several  years  later  he  founded  a 
music  school  at  East  Greenwich  (chartered  by 
the  State  in  1859),  which  gave  him  greater 
opportunity  to  carry  out  his  plans.  In  order 
to  gain  a  thorough  knowledge  of  the  work, 
he  went  to  Europe,  where  he  remained  until 
1S64,  visiting  the  best  foreign  conservatories 
and  entering  himself  as  a  pupil.  On  his  re- 
turn, he  went  to  Providence,  and  there  founded 
the  first  conservatory  in  America — that  is, 
which  was  called  by  that  name,  for  his  school 
at  East  Greenwich  was  really  one.  Its  pros- 
perity was  such  that  in  1867  a  removal  to  Bos- 
ton was  deemed  advisable.  In  1870  it  was 
incorporated  by  the  Massachusetts  Legisla- 
ture, under  the  name  of  New  Englanu  Con- 
servatory <>f  Music  (A  full  description  of  it 
is  given  under  the  heading,  Boston).  Dr. 
Tourjee  is  still  at  its  head.  When  a  College 
of  Music  was  instituted  in  the  Boston  Univer- 
sity, in  1872,  he  was  elected  Dean,  and  still 
occupies  that  position. 

Dr.  Tourjee  is  a  man  of  varied  and  brilliant 
talents,  which  he  fortunately  uses  for  the  ad- 
vancement of  that  which  is  pure  and  noble. 
As  a  musical  educator  and  organizer,  he  holds 
rank  among  the  very  first  in  this  country,  but 
his  activity  is  not  confined  to  the  sphere  of 
music  alone.  For  several  years  he  was  presi- 
dent of  the  Y.  M.  C.  A.,  and  whatever  tends 
to  benefit  mankind  in  any  way  receives  his 
hearty  commendation  and  support.  He  has 
compiled  several  collections,  among  which 
are  the  "Chorus  Choir,"  the  "Tribute  of 
Praise,"  and  the  M.  E.  Church  Hymnal. 

Trajetta,  Phii.ipO,  was  born  January 
S  (?),  1777,  at  Venice.  After  having  become 
well  grounded  in  the  rudiments  of  music,  l.e 
studied  under   Feneroli  and  I'erillo,  and  subse- 


quently  under  l'iccini  at  Naples.  On  the  out- 
break of  the  revolution  he  joined  the  patriot 
army,  and  was  in  consequence  confined  in  a 
dungeon,  but  at  the  end  of  eight  months  was 
released  and  shipped  on  board  an  American 
vessel,  arriving  at  Boston  in  the  winter  of 
1799.  After  a  short  stay  in  Boston  he  went  to 
New  York.  He  then  traveled  extensively  in 
the  South,  resided  for  some  time  in  Virginia, 
and  finally  died  at  Philadelphia,  Jan.  9,  1854. 
He  was  a  thorough  contrapuntist,  a  fine  singer 
and  a  good  performer  on  various  instruments. 
Among  his  works  are  the  cantatas  of  "The 
Christian's  Joy,"  "Prophecy,"  "The  Nativ- 
ity" and  "The  Day  of  Rest  ;"  the  oratorios 
of  "Jerusalem  in  Affliction"  and  "Daughter 
of  Zion  ;"  and  the  opera  of  "The  Venetian 
Masker's." 

Trac.T,  James  M.,  was  born  at  Bath.  N. 
II.,  in  1839.  H's  musical  talents  were  early, 
manifest,  and  at  the  age  of  eleven  years  he- 
was  sent  to  Lowell,  Mass.,  where  he  received 
his  first  regular  music  lessons  of  a  Mrs.  Ful- 
some. Some  time  after,  his  father  having  re- 
moved to  Concord,  N.  H.,  he  continued  his 
lessons  under  John  Jackson  of  that  place.  He 
then  went  to  Boston  and  studied  the  organ 
and  harmony  with  L.  II.  Southard  and  the 
piano  with  Carl  Hause.  After  remaining  in 
Boston  about  two  years  he  accepted  an  en- 
gagement as  organist  and  director  of  music  of 
the  Unitarian  Church,  Bangor,  Me.  In  1858 
he  went  to  Leipzig,  Germany,  and  entered 
the  Conservatorium  there,  also  privately  study- 
ing with  Plaidy,  Richter,  and  Knorr.  At  the 
end  of  two  years  he  proceeded  to  Weimar, 
where  he  was  a  pupil  of  Liszt  for  one  year. 
Returning  to  the  United  States  in  1861,  he 
settled  at  Rochester,  N.  V.,  as  a  pianist  and 
teacher.  Five  years  later  he  removed  to 
Boston,  where  he  now  (July,  1886)  resides. 
For  the  past  twelve  years  he  has  been  engaged 
as  one  of  the  principal  teachers  in  the  Boston 
Conservatory  of  Music.  He  is  the  author  of 
the  "Boston  Conservatory  Method  for  the 
Piano,  Theory,  and  Harmony,"  several  books 
of  technical  studies,  and  of  various  articles  in 
musical  publications.  He  has  also  given 
eight  series  of  piano  recitals,  playing  at  the 
last  series  all  of  Beethoven's  sonatas. 


u. 


Upton,  Georgk  P.,  was  born  Oct.  25, 
18:54,  at  Roxbury.  Mass.  He  was  educated  at  : 
Brown  University,  Providence,  R.  I.,  from 
which  he  graduated  in  1S54.  The  following 
year,  being  then  of  age,  he  went  to  Chicago, 
and  immediately  entered  upon  newspaper 
work,  writing  his  first  article  for  the  "Native 
Citizen."  In  1856  he  became  city  editor  of 
the  "Chicago  Evening  Journal,"  retaining  the 
post  until  1862.  While  connected  with  this 
journal  he  first  employed  his  pen  in  musical 
work,  his  being  the  first  criticisms  written  in 
that  city.  In  1862  he  became  city  editor  of 
the  "Chicago  Tribune,"  in  1S63  war  corres- 
pondent, in  1S64  night  editor,  in  1867  news 
editor,  and  in  1868  literary,  dramatic  and  art 
editor.  Since  1871  he  has  occupied  a  place 
upon  the  regular  staff.  He  was  its  music 
critic  until  1882,  when  he  resigned  the  posi- 
tion. Mr.  Upton's  musical  works  consist  of, 
besides  innumerable  short  articles  on  various 
topics,  "Woman  in  Music,"  1  vol.,  1882,  pub- 
lished by  Osgood  &  Co.,  Boston;  "The  Stan- 
dard   Operas,"    and    translations    of  "Nohl's 


Life  of  Haydn,"  "Life  of  Liszt"  and  "Life  of 
Wagner,"  which  are  issued  by  Jansen,  Mc- 
Clurg  &  Co.  of  Chicago,  and  are  valuable 
additions  to  our  musical  literature.  He  has  a 
line  musical  library,  containing  over  1000 
volumes. 

Urania.  "Urania,  or  A  Choice  Collec- 
tion of  Psalm-Tunes,  Anthems  and  Hymns. 
From  the  most  approv'd  Authors,  with  some 
entirely  new  :  In  Two,  Three  and  Four  Parts. 
The  whole  peculiarly  adapted  to  the  use  of 
Churches  and  Private  Families.  To  which 
are  prefix'd  the  Plainest  and  most  Necessary 
Rules  of  Psalmody.     By  James  Lyon,    A.  B., 

1  Hen.  Dawkins,  fecit.  1761.  Price  15s."  This 
work  was  printed  at  Philadelphia,   from  hand- 

1  somely  engraved  plates,  and  contains  twelve 
pages  of  musical  instruction.  It  was  dedica- 
ted "To  the  Clergy  of  every  Denomination  in 
America,"  and  contains  the  names  of  142  sub- 
scribers. It  contained  a  number  of  original 
pieces,  but  was  mostly  compiled  from  English 

\  sources.  Lyon  is  said  to  have  been  finnn- 
ciallv  ruined  bv  the  venture. 


V. 


Van  ZaiMlt,  Marie,  was  born  in  1S61, 
in  the  state  of  Texas,  and  is  of  Dutch  extrac- 
tion, as  is  indicated  by  her  name.  Her  happy 
childhood  days  were  spent  on  her  father's 
large  farm.  She  learned  to  sing  almost  as 
soon  as  to  talk,  her  mother  being  an  excellent 
vocalist.  The  Civil  War  depriving  her  father 
of  his  fortune,  it  was  proposed  that  the  young 
singer's  talents  should  be  utilized  in  assisting 
to  support  the  family.  She  sought  employ- 
ment in  one  of  the  Eastern  cities  and  then 
went    to    London,    where   she    met     and    was 


greatly  encouraged  by  Patti.  She  entered  a 
convent  school  as  hoarder,  studying  with 
great  energy.  After  leaving  the  convent  she 
studied,  among  other  teachers,  with  Lamperti 
at  Milan  for  a  short  time.  She  then  sang  in 
many  of  the  cities  of  Northern  Europe,  and 
having  gained  considerable  reputation,  was 
offered  and  accepted  an  engagement  at  the 
Opera  Comique,  Paris,  appearing  in  the  rdlc 
of  Mignon. 

Miss  Van   Zandt,  though  young,  is  an  unu- 
sually   fine    singer,    of   whom    much   may   be 


HANDBOOK    OF   AMERICAN    MUSIC   AND    MUSICIANS. 


expected    in  the  future.     Her  countenance  is 

an  expressive  one,  indicating  both  refinement 
and  depth  of  thought.  She  also  possesses  a 
rare  but  none  the  less  commendable  trait — 
that  of  sound  common  sense,  which  was  mani- 
fested in  her  refusing  to  Italianize  her  name. 
During  her  earlier  life  she  learned  many 
healthful  and  practical  accomplishments. 
Though  having  many  rich  jewels,  she  rarely 
ever  displays  them,  and  her  simple  tastes  are 
evident  from  the  furnishing  of  her  apartments. 
America  has  produced  some  of  the  most  cele- 
brated singers  of  the  world,  and  Miss  Van 
Zandt  certainly  deserves  a  high  place  among 
them. 


Vintage,  Th<*.  One  of  the  earliest  of 
American  operas.  The  libretto  is  by  William 
Dunlop;    the    music    by    Victor   Pellisier,    a 

French  resident   of   New  York.      Produced  nt 
New  York  in  1799,  with  good  success. 

Voices  The.  A  20-page  monthly,  foun- 
ded in  January,  1879,  by  the  present  editor 
and  proprietor,  Edgar  S.  Werner,  and  pub- 
lished at  48  University  Place,  New  York. 
Il  is  an  international  review  of  the  speaking 
and  singing  voice,  is  the  organ  of  the  vocal 
and  elocutionary  professions,  and  makes  a 
specialty  of  the  cure  of  vocal  defects  and  voice 
culture.  Subscription  price,  Si. 50.  Issued 
monthly. 


w. 


Walter,  Rev.  Thomas,  was  born  at  Rox- 
bury,  Mass.,  in  16c 6,  and  published  in  1721 
"The  Grounds  and  Rules  of  Musick  Ex- 
plained :    or   an    Introduction    to    the    Art  of 

Singing  by  Note  :  Filled  to  the  Meanest  Ca- 
pacities. Let  everything  that  hath  breath 
praise  the  Lord."  The  work  passed  through 
several  editions,  the  last  of  which  was  pub- 
lished in  1764.  Most  of  the  tunes,  twenty- 
four  in  number,  were  taken  from  Ainsworth's 
Psalms  or  Ravenscroft's  collection.  Walter 
died  in  172S. 

Warren,  George  William,  was  born  at 
Albany,  N.  Y.,  Aug.  17,  1S2S.  He  early  de- 
voted himself  to  music,  and  removed  to  New 
Vork  City,  becoming  known  as  an  organist, 
composer  and  teacher.  Many  of  his  piano 
pieces,  songs,  etc.,  have  gained  considerable 
popularity.      He  still  resides  at  New  York. 

Warren,  Samuel  P.,  one  of  the  leading 
American  organists,  was  born  at  Montreal, 
Canada,  Feb.  iS,  1S41.  As  his  father  was  an 
extensive  organ  manufacturer,  he  early  be- 
came thoroughly  familiar  with  the  usual  de- 
tails of  construction.  Having  passed  through 
college  and  evincing  more  than  usual  musical 
talent,  it  was  decided  that  he  should  visit 
Europe  to  pursue  his  studies.  In  iS6t  he 
went  to  Berlin,  where  he  received  instruction 
from  Haupt  (organ),  G.  Schumann  (piano), 
and  Wieprecht  (instrumentation).  He  es- 
picially  devoted  himself  to  his  favorite  instru- 
ment, and  after  completing  the  usual  four 
years'  course,  returned  to  Montreal.  The 
following  year  (1S65)  he  removed  to  New 
York,  where  he  is  still  (May,  18S5)  residing. 
For  two  years  he  was  organist  of  Dr.  Bellow's 
church,  next  of  Grace  Church,  and  then  of 
Trinity  Church,  after  which  he  returned  to 
his  old  post  at  Grace.  Church.  Mr.  Warren, 
strange  to  say,  has  as  yet  published  nothing 
for  his  instrument,  and  his  printed  composi- 
tions are  confined  to  some  sacred  music  and 
songs.  His  organ  conceits  have  done  much 
to  render  familiar  the  best  grade  of  organ 
music. 


Warren,  Alfred  E.,  was  born  about 
1834,  at  a  smalltown  of  England  called  Ed- 
monton. His  father  was  a  prominent  piano 
manufacturer  of  London,  and  at  one  time 
maker  to  Her  Majesty'  the  Queen.  When 
about  eighteen  years  old  he  resolved  to  follow 
music  as  a  profession,  and  placed  himself 
under  the  best  teachers  of  London,  where  he 
obtained  the  most  of  his  musical  education. 
He  then  received  and  accepted  a  tempting  offer 
to  go  to  Calcutta,  India,  where  he  remained 
several  years,  meeting  with  much  success. 
Failure  of  health  compelled  him  to  seek  a 
different  climate,  and  he  came  to  this  country, 
arriving  here  in  1861.  Boston  has  ever  since 
been  his  place  of  residence,  and  he  has 
achieved  a  national  reputation  as  a  pianist, 
composer  and  teacher.  Mr.  Warren  did  not 
appear  in  the  rdle  of  a  composer  until  after 
coming  to  this  country,  his  first  published 
composition  being  "Valse  de  Favorita,"  is^ 
sued  by  Ditson  &  Co.  in  1861.  His  "InmaiB 
Line,"  march,  dedicated  to  William  Inman, 
Esq.,  became  very  popular.  It  was  composed 
for  the  World's  Peace  Jubilee  of  1872, 
and  performed  there,  Saturday,  June  22.  His 
"Strauss  Autograph  Waltzes"  were  also  very 
popular,  and  as  no  name  was  at  first  attached 
to  them,  it  was  for  some  time  supposed  that 
they  were  by  Strauss  himself.  The  following 
are  the  best  known  and  most  important  of  his 
works  : 

Inman  Line.      March. 

March  de  Syrious. 

Strauss  Autograph  Waltzes. 

Strauss  Engagement  Waltzes. 

Life  in  the  Tropic  Waltzes. 

Thoughts  of  Love.      Mazurka. 

Rays  of  Hope.      Mazurka. 

Army  and  Navy.  March.  Written  for  the 
dedication  of  the  monument  on  Boston 
Common.  A  manuscript  copy  of  the 
piece  and  a  photograph  of  the  composer 
was  placed  in  the  box  under  the  base. 
Songs. — Silent   Evermore,    Life  of  a  Sailor 

Free,     The    Fisherman's    Wife,     Under    the 

Leaves    that     Fall,     Good    bye,  my    dearest, 

good  bye,    Sleep  On,  Sad  Tears   are    Falling, 

Farewell. 


HANDBOOK    OF   AMERICAN    MUSIC    AND    MUSICIANS. 


Webb,  George  James,  was  born  in  Wilt- 
shire, England,  June  24,  1S03.  He  was  in- 
tended for  the  church,  but  gave  much  of  his 
time  to  the  study  of  music,  which  he  subse- 
quently adopted  as  a  profession.  In  1S30  he 
came  to  the  United  States  and  settled  at  Bos- 
ton, becoming  an  earnest  and  efficient  co- 
laborer  of  Dr.  Lowell  Mason.  He  was  one 
of  the  founders  in  1836  of  the  Boston  Acad- 
emy of  Music  (seethe  heading,  Boston), 
and  one  of  the  earliest  conductors  of  symphony 
and  oratorio  performances  in  Boston.  For 
many  years  lie  held  a  leading  position  as 
teacher  of  singing  and  the  piano.  In  1S70  he 
removed  to  Orange,  N.  J.,  teaching  in  New 
York  City.  His  compositions  mostly  consist 
of  church  tunes  and  pieces,  some  of  which 
have  come  into  general  use.  He  was  resid- 
ing in  New  York  in  1SS1,  and  still  active. 

Weber,  ALBERT,  celebrated  as  a  piano 
manufacturer,  was  born  in  Bavaria,  but  early 
came  to  the  United  States  and  settled  in  New 
York  in  1845.  He  worked  at  his  trade  during 
the  day  and  gave  music  lessons  at  night,  being 
a  practical  musician.  For  some  time  he  oc- 
cupied a  position  as  organist  at  one  of  the 
churches.  Through  economy  and  hard  labor 
he  managed  to  save  a  considerable  sum  of 
money,  and  in  1852  founded  the  present  ex- 
tensive house  of  Weber.  He  continued  to 
manage  the  business  to  the  time  of  his  death 
in  1S79,  when  he  was  succeeded  by  his  son, 
Albert  Weber,  Jr.  (See  succeeding  article.) 

Weber,  Albert,  New  York.  The 
Weber  piano  manufacturing  house,  one  of  the 
leading  in  the  United  States,  was  founded  in 
1852,  by  the  father  of  the  present  proprietor. 
His  early  struggles  were  of  a  nature  to  dis- 
courage an  ordinary  person,  but  by  indomitable 
pluck  and  energy  he  succeeded  in  establishing 
the  business  on  a  sound  footing,  and  winning 
his  way  against  all  opposition.  The  erection 
of  the  present  factory  was  begun  in  1867,  but 
the  business  did  not  begin  to  assume  its  pres- 
ent proportions  until  four  years  later,  when 
750  instruments  were  turned  out  in  a  year. 
In  1S78,  two  years  after  the  Centennial,  the 
production  was  1650,  and  in  1870,  1900  instru- 
ments. The  elder  Weber  died  in  1879,  and 
was  succeeded  by  his  son,  Albert  Weber,  Jr., 
(born  in  September,  185S)  who  has  since  suc- 
cessfully carried  on  the  immense  business. 
Branch    houses    were  established  at   Chicago 


and   Boston  in    1SS0.     About  sixty  pianos  are 
now  finished  at  the  factory  every  week. 
Webster,   Joseph    P.,   was  born  about 

1830,  at  Manchester,  N.  H.  He  became 
known  in  New  England  as  the  director  of  a 
quartet  company  called  "Euterpeans."  He 
subsequently  went  West,  and  for  some  time 
resided  at  New  Albany,  Ind.  In  i8(  She  pub- 
lished, at  Chicago,  "The  Signet  Ring,"  a 
collection  of  music  for  Sabbath  schools.  He 
wrote  some  songs,  a  cantata,  and  some  other 
music,  but  will  longest  be  remembered  for  his 
famous  melody  of  "Sweet  Bye  and  Bye." 
His  death  occurred  some  eight  or  ten  years 
ago  in  Wisconsin.  He  left  a  daughter,  Miss 
May,  we  think,  who  has  considerable  talent  as 
a  musician. 

AVels,  Karl,  was  born  at  Prague  in  1S30, 
and  while  yet  a  young  man  came  to  this  coun- 
try, settling  at  New  York,  where  he  is  esteemed 
as  a  pianist,  composer  and  teacher.  He  pub- 
lished in  1864  a  collection  of  church  music, 
but  is  chiefly  known  for  his  piano  composi- 
tions, among  which  are  three  transcriptions, 
"Sleep  well,  sweet  Angel,"  "Good  Night, 
Farewell,"  and  "Little  Mendicant." 

Werrenratli,    George,    tenor    singer, 

was  born  at  Copenhagen,  Denmark,  about 
1840.  His  musical  career  began  at  Hamburg, 
Germany,  where  he  studied  under  Canthal, 
the  composer.  After  appearing  in  concerts 
and  operas  in  the  minor  cities  of  Germany,  he 
accepted  a  three  years'  engagement  at  the 
Royal  Opera,  Wiesbaden,  sustaining  rSles  in 
"  Faust,"  "  L' Africaine,"  "  Lohengrin," 
"  Magic  Flute,"  "  Stradella,"  "  Martha," 
"  Der  Freischutz,"  and  "Belisario."  At  the 
end  of  this  time  he  went  to  Paris  to  continue 
his  studies.  From  there  he  proceeded  to 
London,  successfully  appearing  in  English 
opera  and  concerts.  During  his  stay  he  became 
acquainted  with  Gounod,  with  whom  he  trav- 
eled in  concert  tours  of  Belgium.  Upon  the 
advice  of  Gounod  he  went  to  Milan  and  stud- 
ied a  year  under  Lamperti.  Returning  to 
England  he  filled  various  engagements  until 
1876,  when  he  came  to  the  United  States. 
Ilis  first  appearances  at  New  York  and  Boston 
were  at  the  symphony  concerts  given  by 
Theodore  Thomas.  He  was  engaged  as  one 
of  the  principal  singers  upon  organization  of 
the  Wagner  Opera  Festival,  and  his  rendition 
of    Lohengrin    showed   him    to    be   an  actor  of 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


more    than    ordinary    al> 


His  success  in  I  the  early  American  psalmodists.  His  music 
torio,  particularly  the  "  Messiah,"  was  popular  in  his  day,  and  a  few  <>f  his  tunes 
>n,"     and     "Samson,"     is     nearly    as    are  still  to    be    found    in    church    collections. 


opera.      He    was   the   first  to    He  died  at  his  native  place,  Tidy  21,  1861. 


"Creat 

marked  as  in  th 

give  in  America  a  series  of  song  recitals,  in- 
troducing this  style  of  concert  in  Chicago,  in 
February,  1S79,  when  in  four  evenings  he 
sang  seventy-five  classical  songs.  In  1881  he 
gave  two  series  of  song  recitals  in  Brooklyn, 
which  were  highly  praised.  During  his  resi- 
dence of  six  years  and  a  half  in  America,  Mr. 
Werrenrath  has  been  engaged  as  solo  tenor  of 
Plymouth  (H.  W.  Beecher's)  Church.  Last 
summer  (1882),  while  on  a  visit  to  his  native 
city,  he  had  the  honor  of  singing  before  the 
royal  family  of  Denmark.  He  is  a  fine  lin- 
guist as  well  as  a  finished  musician,  speaking 
with  almost  equal  ease  the  Danish,  Swedish, 
German,  French,  Italian  and  English  lan- 
guages. 
Westenclorf,    Thomas  P.,  was  born  at 

Bowling  Green,  Caroline  Co.,  Ivy.,  Feb.  23, 
1S47.  His  father  was  of  German  birth  ami 
his  mother   a    native    of   Virginia.      When  In: 


What  is  Home  Without  a  Moth- 
er ?  The  title  of  one  of  Sep.  Winner's  most 
popular  songs.  It  is  the  second  one  which  he 
wrote,  and  vvr.s  composed,  both  words  and 
music,  in  1S51.  In  a  short  time  it  became  all 
the  rage,  being  sung,  played  and  whistled 
everywhere,  and  the  sales  were  enormously 
large  for  the  lime.  Its  popularity  was  subse- 
quently dimmed  by  the  production  of  "Listen 
to  the  Mocking  Bird." 

Wheeler,  J.  Harry,  was  bom  Oct.  5, 
1842,  at  Lynn,  Mass.  His  father  and  mother, 
both  of  whom  are  living  (1886),  were  highly 
musical,  his  father  having  directed  musical 
societies  and  choirs  for  more  than  forty  years. 
He  was  placed  under  the  private  teaching  of 
the  best  masters  of  his  native  city,  and  while 
yet  attending  school  at  the  age  af  fifteen  he 
began  teaching  large  classes  in  vocal  music. 
At  this  time   he    was  offered  and  accepted  the 

was  twelve  years  old  the    family    removed    to  [  directorship    of   a    large    chorus  organization. 

Chicago,    where  he  received  his  musical  edu-    But   the   home  musical  culture  was  only  as  an 


and  the  violin  un  ler  Henry  Declerque.  For  ;  parents  that  he  should  lead  a  mercantile  life. 
some  time  he  taught  brass  bands,  and  subse-  j  He  was  therefore  placed  in  a  prominent  Bos- 
quently  in  a  State  institution  at  Flainfield,  ;  ton  business  house.  In  that  city  he  was  con- 
Ind.  During  the  past  eight  years  he  has  been  !  stantly  under  the  influence  of  music  and  musi- 
engaged  in  teaching  at  the  Louisville  House  |  cians,  and  after  a  few  years  abandoned  the 
of  Refuge,  Louisville,  Ky.,  where  his  wife  is  business  for  music.  After  this  he  received 
also  employed.  Mr.  Weslendorf  has  written  ;  musical  instruction  from  the  best  teachers  in 
about  300  vocal  and  nearly  as  many  inslru-  Bostor.  singing  in  public  with  success.  Some 
mental    pieces. 


Of   his    songs,     "Our    Litth 
Darling's  Grave,"  "I'll  take  you  Home  again 
Kathleen,"       "Toddlin      Down     the     Brea,' 
"From  Jerusalem  to  Jeriei 
the  Old  Folks,  Tom,"   an< 


.1;.. 


110     little     pop 
instrumental    pieces    a 
p,"  "In  Life's  Fair  M< 


time  later  he  traveled  in  the  West  and  South, 
holding  musical  conventions  with  success. 
He  enlisted  during  the  war  and  was  sergeant- 
Don't  Forget  major  of  a  western  regiment.  After  this  he 
■  others,  have  ]  went  to  Europe,  studying  voice  culture  with 
Garcia,  San  Giovanni,  Trivulsi,  Bruni,  Lam- 
perti,  and  other  celebrated  teachers,  and  thor- 
oughly preparing  himself  for  that  branch  of  the 
profession.  On  his  return  to  the  United 
States  he  was  engaged  as  a  teacher  of  the 
voice  and  singing  at  the  New  England  Con- 
servatory of  Music,  Boston,  a  position  which 
he  still  retains.  Many  of  his  pupils  have  lie- 
come  eminent  as  opera,  concert  and  church 
singers     and    teachers.      As    a    teacher    he    is 


Among  his 
i  "  Gingham 
nine  Walt/.," 


attame 
popula 

Quicks 

"Innocence,"  "Sounds  from  Fairyland," 
"Harvest  Morn,"  "Love's  Greeting,"  etc. 
His  little  daughter,  Jennie,  h:s  often  figured 
in  his  songs,  and  is  the  prime  cause  of  many 
of  them.  He  has  recently  completed  an 
opera  on  which  he  has  been  engaged  for  three 
years,  which  will  probably  be  produced  soon. 

Wetlliore,  Dr.  Truman  S.,  bom  at  equaled  by  few,  having  had  a  vast  experience. 
Winchester,  Conn.,  Aug.  12,  1774,  was  a  He  has  written  much  upon  vocal  culture.  His 
contemporary   of   Stephen    Jenks,    and  one  of    work    entitled    "Vocal    Physiology"    has  mel 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


with  a  very  large  sale,  and  is  said  to  be  one 
<>f  the  most  practical  works  on  this  subject 
ever  written.  He  is  also  director  of  the  Bos- 
ton Normal  Musical  Institute,  which  is  held 
every  summer. 

Whiting,  George  Elbridge,  was  bom 
at  Holliston,  Mass.,  Sep.  14,  1842.  At  the 
age  of  five  years  he  began  the  study  of  music 
with  his  brother,  Amos,  then  organist  of  a 
church  at  Springfield.  He  soon  relinquished 
the  piano  for  the  organ,  and  when  thirteen 
made  his  first  public  appearance  as  a  player. 
Two  years  later  he  went  to  Hartford,  Conn., 
an  I  soon  after  became  organist  of  one  of  the 
churches  there,  succeeding  Dudley  Buck. 
While  there  he  founded  the  Beethoven  Society. 
In  1862  he  removed  to  Boston.  Having  stud- 
ied with  Mr.  Morgan  of  New  York,  he  went 
to  Liverpool,  Eng.,  where  for  a  year  he  was  a 
pupil  of  the  famous  English  organ  player, 
Best.  On  returning  home  he  was  engaged  as 
organist  of  St.  Joseph's  Church,  Albany,  N.Y. 
Being  unsatisfied  with  his  attainments,  he  spent 
some  time  at  Berlin,  finishing  under  Radecke. 
After  three  years  service  at  Albany,  he  ac- 
cepted a  call  to  King's  Chapel,  Boston,  and 
retained  the  position  five  years.  In  1874, 
having  meanwhile  filled  various  engagements, 
he  became  organist  of  the  Music  Hall.  He 
was  also  for  some  time  at  the  head  of  the  organ 
department  of  the  New  England  Conservatory 
of  Music.  In  May,  1878,  he  removed  to  Cin- 
cinnati as  one  of  the  principal  organ  instructors 
in  the  then  newly  established  College  of  Mu- 
sic, and  took  charge  of  the  great  organ  in  the 
Music  Hall,  on  which  he  has  played  at  several 
Of  the  May  Festivals.  After  fulfilling  his  con- 
tract at  Cincinnati  (for  three  years)  he  return- 
ed to  his  old  position  at  the  head  of  the  organ 
department  of  the  N.  E.  Conservatory  of  Mu- 
sic, Boston,  where  he  now  (May,  1S86)  is.  Mr. 
Whiting  is  one  of  the  leading  organists  of  this 
country,  and  ranks  very  high  as  a  composer. 
The  following  isa  list  of  his  works:  "The  Or- 
ganist," containing  12  pieces  for  the  organ  ;  3 
preludes  for  the  organ,  in  C  and  D  minor; 
"The  First  Six  Months  on  the  Organ,"  con- 
sisting of  25  studies;  20  preludes  for  the  or- 
gan, in  2  books;  mass  in  C  minor,  for  four 
solo  voices,  chorus,  orchestra  and  organ,  per- 
formed in  1872;  mass  in  F  minor,  for  chorus, 
orchestra  and  organ,  written  for  the  opening 
of  the  cathedral  at    Boston  in  1874;    prologue 


to  Longfellow's  "Golden  Legend,"  for  chorus 
and  orchestra,  performed  in  1S73  ;  "Dream 
Pictures,"  cantata,  performed  in  1877;  "The 
Tale  of  the  Viking,"  cantata,  for  solos,  chorus 

[  and  orchestra  (Schirmer,  N.  Y.);  a  set  of  fig- 
ured vespers;  "Lenora,"  contata,  for  4  solo 
voices,  chorus  and  orchestra,  libretto  by  Bur- 
ger (in  Ms.);  concerto  in  I)  minor,  for 
piano;  allegro  brilliant,  for  orchestra; 
fantasia  and  fugue  in  E  minor  ;  sonata  in  A 
minor ;  fantasia  in  F;  3  concert  etudes,  A 
minor,  F,  and  B  flat;  suite  for  violoncello  and 
piano;  concert  overture,  "The  Princess;" 
about  50  songs  for  various  voices  ;  a  number 
of  part  songs  ;  several  morning  and  evening 
services  ;  miscellaneous  organ  pieces. 

Whitney,  Myron  W.,  one  of  America's 
most  celebrated  bass  singers,  was  born  at 
Ashbury,  Mass.,  Sep.  5,  1836.  At  the  age  of 
sixteen  he  went  to  Boston  and  studied  with 
E.  H.  Frost,  making  his  first  public  appear- 
ance at  a  Christmas  performance  of  the  "Mes- 
siah" given  by  the  Handel  and  Haydn  Society 
at  Tremont  Temple  in  1858.  Feeling  dissat- 
isfied with  his  attainments  after  ten  years  of 
concert  singing,  he  went  to  Florence  and 
studied  with  Luigi  Yennucini  for  some  time. 
Proceeding  to  London  he  took  lessons  of  Ran- 
degger  in  oratorio  singing.  He  filled  various 
engagements,  one  of  which  was  a  tour  of  Eng- 
land, Ireland  and  Scotland,  and  greatly  in- 
creased his  reputation  by  a  masterly  rendition 
of  the  part  of  Elijah  at  the  Birmingham  Fes- 
tival.     He  also  appeared  at  Oxford  University 

j  in  Handel's  "Acis  and  Galatea,"  as  Polyphe- 
mus, singing  the  music  as  originally  written. 
Since    1876    he    has    refused    all    offers    from 

1  abroad    and   remained  in  his    native    country. 

\  He  has  sung  in  nearly  all  of  the  May  Festivals 

j  (especially  those  of  Cincinnati ),  and    at   festi- 


vals in  Boston,  New  York,  Chicago,  Pitts- 
burgh, Cleveland,  Indianapolis,  and  other 
cities.  His  repertoire  includes  "Messiah," 
"Samson,"  "Joshua,"  "Tephtha,"  "Israel  in 
Egypt,"  "Elijah,"-  "St.  Paul,"  "Son  and 
Stranger,"  "Last  Judgment,"  Bach's  Passion 
Music,  "Eli,"  "Twelfth  Night,"  "Fridolin," 
"Creation,"  "Seasons,"  and  other  works  of 
high  order.  As  an  oratorio  singer  he  has 
few  equals.  He  is  in  every  way  a  great 
artist,  and  possesses  a  magnificent  bass  voice 
of  nearly  three  octaves  compass,  extending 
from  B  flat  below  the  bass  staff  upwards. 


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i/5 


Whitney,  Samuel  Brenton,  was  bom 
at  Woodstock,  Vermont,  June  4,  1842.  His 
early  musical  education  was  received  from 
Carl  Wels  of  New  York.  For  four  years  he  was 
organist  of  Christ  Church,  Montpelier,  Vt., 
then  of  St.  Peter's,  Albany,  and  subsequently 
of  St.  Paul's,  Burlington.  In  1870  he  went 
to  Cambridge,  Mass.,  where  he  continued  his 
studies  under  J.  K.  Paine,  playing  for  him  at 
the  Appleton  Chapel,  Harvard  College.  The 
following  year  he  was  appointed  organist  of 
the  Church  of  the  Advent,  Boston,  and  after- 
wards director  of  the  music,  both  of  which 
posts  he  still  (May,  1886)  holds.  He  is  also 
professor  of  the  organ  and  lecturer  in  the  Bos- 
ton University  and  the  New  England  Conser- 
vatory of  Music.  In  all  matters  pertaining  to 
church  music  he  is  considered  one  of  the  best 
authorities  in  this  country,  and  his  articles  are 
always  clear  and  forcible.  As  an  organist  he 
excels  in  interpreting  the  works  of  Bach.  He 
has  organized  and  conducted  numerous  choir 
festivals  in  Boston  and  various  towns  of  Ver- 
mont. Among  Mr.  Whitney's  compositions 
are  a  piano  trio,  several  church  services  for 
full  choir,  a  few  pieces  for  the  organ,  and 
some  piano  pieces  and  songs,  all  of  which 
show  originality  and  purity  of  form.  He  has, 
besides,  made  transcriptions  of  various  clas- 
sical and  modern  works.  He  is  a  prominent 
member  of  some  of  Boston's  best  musical  or- 
ganizations, and  conducts  various  singing  soci- 
eties, besides  being  one  of  the  organ  exam- 
iners of  the  American  College  of  Musicians, 
and  one  of  its  two  vice-presidents. 

White,  Chari.es  Albert,  was  horn  at 
Taunton,  Mass.,  March  20,  1832.  His  early 
life  was  spent  on  a  farm,  but  his  love  of  music- 
evinced  itself  at  an  early  age,  and  with  a  "fid- 
dle" made  out  of  shingles  and  barrel  hoops 
he  experienced  all  the  delights  of  a  Paganini  ! 
In  a  few  years  he  became  quite  proficient  on 
the  violin,  led  an  orchestra,  and  even  com- 
posed some  dance  and  ballet  music.  While 
professor  in  the  Naval  School  at  Newport  he 
commenced  his  career  as  a  song  writer,  in 
which  he  has  been  so  successful.  The  favor 
with  which  his  productions  were  received  led 
him  to  conceive  the  idea  of  becoming  his  own 
publisher,  and  on  Sep.  I,  1868,  he  founded 
the  music-publishing  house  of  WHITE,  SMITH 
&  Co.,  which  has  rapidly  .risen  to  an  impor- 
tant   position    among    those    of   this   country. 


All  the  details  of  the  business  are  under  his 
personal  supervision.  Among  Mr.  White's 
most  popular  vocal  productions  are  "Against 
the  Tide,"  "Blue  and  Gray,"  "Come,  Silver 
Moon,"  "Hesitation,"  "Moonlight  on  the 
Lake,"  "When 'Tis  Moonlight,"  "My  Love's 
a  R  >ver,"  "Sweet  to  the  Milkmaid  the  Plow- 
boy  Sang,"  and  "When  the  Leaves  begin  to 
Fall." 

White,  Smith  &  Co.,  Boston.  This 
music-publishing  house  was  founded  Sep.  1, 
1868.  The  principal  partners  are  C.  A. 
White,  well  known  as  a  composer,  and  W.  F. 
Smith.  Their  catalogue  comprises  nearly 
10,000  publications,  and  is  rapidly  being 
added  to.  They  have  recently  put  into  opera- 
tion a  large  lithographic  press,  and  now  com- 
pete in  this  respect  with  foreign  publishers. 
A  branch  house  has  been  established  in  Chi- 
cago, and  they  now  rank  among  the  leading 
music  firms  of  the  country.  They  publish  a 
great  number  of  popular  pieces,  and  issue  the 
"Folio,"  a  32-page  monthly  magazine  devot- 
ed to  musical  matters. 

Wilcox  &  White,  Meriden,  Conn. 
This  firm  of  organ  manufacturers  was  formed 
in  1876,  by  a  number  of  wealthy  residents  of 
Meriden,  who  opposed  their  money  to  the 
practical  skill  and  experience  of  the  Messrs. 
White,  who  for  a  number  of  years  held  lead- 
ing positions  with  J.  Estey  &  Co.,  Brattleboro, 
Vt.,  ami  who  were  accompanied  by  a  number 
of  Estey  &  Co.'s  workmen.  A  four-story 
brick  building,  200  feet  long,  with  two  wings 
100  feet  long,  was  erected  and  provided  with 
the  best  modern  appliances.  The  business 
rapidly  grew  to  such  an  extent  that  another 
building,  five  stories  high  and  no  feet  long, 
was  necessitated.  The  Wilcox  &  White  or- 
gans are  favorably  known  the  world  over,  and 
the  demand  for  them  large,  as  is  evidenced 
by  the  fact  that  about  5000  instruments  are 
manufactured  yearly.  The  officers  of  the 
Company  are  as  follows:  H.  C.  Wilcox,  pres- 
ident;  J.  H.  White,  secretary  and  treasurer; 
and  H.  K.  White,  manufacturing  superinten- 
dent. The  warerooms  are  located  at  25  Union 
Square,  New  York. 

Willeox,  Dr.  John  Henry,  was  born 
Oct.  6,  1827,  at  Savannah,  Ga.  Of  his  early 
life  we  have  no  particulars.  He  graduated  at 
Trinity  College,  Hartford,  Conn.,  Aug.  2, 
1840.      The  following  year  he  took  up  his  res- 


HANDBOOK    OF   AMERICAN    MUSIC    AND    MUSICIANS. 


idence  in  Bosb  a,  and  soon  after  became  or- 
ganist of  St.  Paul's  (Episcopal)  Church,  suc- 
ceeding Dr.  S.  P.  Tucherman.  Upon  the 
establishment  of  the  Church  of  the  Immacu- 
late Conception,  he  was  appointed  organist 
thereof,  and  retained  the  post  until  July,  1874. 
The  degree  of  Doctor  of  Music  was  conferred 
on  him  by  the  Georgetown  College,  "Trige- 
sina  Juni  MDCCCLXIV "  (Junes,  1864). 
For  some  years  previous  to  his  death  he  per- 
ceptibly failed,  both  in  body  and  mind.  He 
died  at  Boston,  June  10,  1875.  During  Ids 
residence  in  Boston  he  was  at  different  times 
connected  with  Hook  &  Hastings,  Georgi 
Simmons,  and  Hutchings,  Plaisted  &  Co., 
organ  builders,  and  there  Was  no  part  of  the 
organ  with  which  he  was  not  familiar.  It  is 
said  that  he  cculd  remember  the  size,  number 
and  location  of  draw-stops,  etc.,  of  every  or- 
gan he  had  ever  seen.  As  an  organist  he  had 
no  little  ability,  but  he  mostly  confined  him- 
self to  the  lighter  and  more  popular  class  ol 
music.  He  composed  much  music  for  the 
Catholic  Church,  some  of  which  has  been  pub- 
lished, but  most  of  which  is  in  manuscript. 

Winailt,  Emily,  contralto  singer,  was 
horn  about  i860,  and  studied  with  the  late 
Mme.  Rudersdorff,  from  whom  she  acquired 
an  excellent  method.  Her  first  public  ap- 
pearance was  at  one  of  Remenyi's  concerts, 
New  York,  in  November,  1878.  She  has  fre- 
quently sung  at  the  Philharmonic  and  sym- 
phonic concerts,  and  was  one  of  th<?  soloists 
at  the  New  York  May  Festival  of  1S82.  At 
present  siie  hold.-,  a  position  in  the  choir  of 
St.  Thomas'   Church. 

Winner,   Septimus;   one   of  America's 

most  celebrated  song  writers,  was  bom  at 
Philadelphia,  May  ri,  1827.  His  early  days 
were  spent  much  the  same  as  those  of  other 
hoys.  Having  come  into  possession  of  an  old 
violin,  he  managed,  by  dilligent  practice,  to 
become  a  very  fair  player  in  the  course  of  a 
year.  After  this  lie  for  a  short  time  took  les- 
sons of  Leopold  Meignen,  then  a  well-known 
teacher.  The  violin  remained  his  favorite 
instrument,  but  after  attaining  considerable 
proficiency  upon  this  he  took  up  the  study  of 
the  organ,  pi.' no,  and  various  stringed  instru- 
ments, on  all  of  which  he  became  a  fair 
player.  By  the  time  he  had  arrived  at  the  age 
of  twenty  he  was  a  successful  music  teacher, 
for  five  years  he  was  leader  of    the   Philadel- 


phia Band,  and  in  1S53  he  opened  a  music 
store  in  his  native  city.  The  panic  of  1S57 
greatly  demoralized  trade,  and  the  following 
year  he  removed  his  establishment  to  Wil- 
liamsport.  At  the  end  of  a  year,  however,  he 
returned  to  Philadelphia.  He  now  has  a 
branch  store  in  Germantown  (a  part  of  Phila- 
delphia), where  he  has  for  along  time  resided. 
Mr.  Winner  was  married  in  1S48  to  Miss  Han- 
nah J.  Guyer,  by  whom  lit-  has  had  several 
children,  and  who  is  still  living.  Five  of  the 
children  are  also  living.  Septimuf,  Jr.,  is  in 
partnership  with  his  father,  and  Joseph  has 
gained  considerable  reputation  as  a  song  wri- 
ter under  the  nameof  "Jose]  h  Easlburn." 

Mr. Winner's  songs,  with  which  he  Ik  s  been 
so  successful,  number  several  hundred,  the 
words  to  all  of  them  being  by  himself.  His 
first  song,  as  well  as  his  first  composition,  was 
"How  Sweet  are  the  Roses,''  published  by 
Lee  &  Walker,  Philadelphia,  in  1850.  It  ap- 
peared under  the  nom  de  plume  of  "Alice 
Hawthorne,"  an  arrangement  of  his  mother's 
maiden  name,  and  was  shortly  followed  by 
"What  is  Home  Without  a  Mother,"  which 
constitutes  the  first  of  what  afterwards  came  to 
be  known  as  the  "  Hawthorne  Ballads."  Its 
popularity,    though    almost   phenomenal,  was 


ecli 


bv  that  of 


Mockinf 


Bird,"  which  has  probably  been  heard  in 
some  shape  by  everyone  who  knows  anything 
at  all  about  music.  It  is  said  that  the  idea  of 
writing  this  song  was  suggested  to  Mr.  Winner 
by  the  performances  of  a  colored  individual, 
Richard  Milburn,  commonly  called  "Whist- 
ling Dick,"  who  was  noted  for  his  imitations 
of  the  mocking  bird.  It  would  be  impossible, 
in  an  article  like  this,  to  specify  all  of  Mr. 
Winner's  songs,  but  others  that  may  be  men- 
tioned are  "The  Love  of  one  fond  Heart," 
"Pet  of  the  Cradle,"  "Whispering  Hope," 
"Our  Good  Old  Friends,"  "Dreaming  of  the 
Loved  Ones,"  "Just  as  of  Old,"  "Lost  Isabel," 
"Wherefore,"  "Side  by  Side,"  "Song  of  the 
Laimers,"  "Days  Gone  By,"  "What  Care  I," 
"Love  once  gone,  is  gone  forever,"  "P'are- 
well  song  of  Enoch  Arden ;  or,  I'll  sail  the 
seas  over"  (suggested  by  Tennyson's  beautiful 
poem),  "Yes,  I  would  the  war  were  over," 
"Give  us  back  our  old  Commander,"  "Aunt 
Jemima's  Plaster,"  and  "Ten  Little  Injuns." 
He  has  composed  quite  a  number  of  insti  li- 
nn nlal   pieces,    but    is  chiefly  known  in  this 


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'  77 


field  for  his  arrangements  for  various  instru- 
ments, which  number  upwards  of  1500.  His 
series  of  easy  guides  or  methods  has  become 
very  popular.  It  includes  the  following  in- 
struments :  Piano,  reed  organ,  guitar,  violin, 
flute,  violoncello,  accordeon  and  flutina,  Ger- 
man accordeon,  banjo,  concertina,  life,  clari- 
net, flageolet,  and  cornet.  For  the  most 
of  them  he  has  also  edited  collections  of  mu- 
sic. Mr.  Winner  has  written  under  the  names 
of  "Percy  Guyer,"  "Mark  Mason,"  and  "Paul 
Stenton,"  as  well  as  his  own  name  and  that 
of  "Alice  Hawthorne." 

Wolfsollll,  Carl,  pianist  and  composer, 
was  born  at  Alzey,  Reinhessen,  Germany,  Dec. 
14,  1834.  His  musical  talent  early  showed 
itself,  and  at  the  age  of  twelve  he  was  placed 
under  the  care  of  Aloys  Schmitt  of  Frankfort, 
with  whom  he  remained  two  years,  his  studies 
at  the  end  of  that  time  being  interrupted  by  the 
revolution  of  1848.  About  this  time  he  com- 
menced composing,  and  wrote  some  patriotic 
songs.  In  December,  184S,  he  made  his  ddbttt 
as  a  pianist  at  Mozart  Hall,  Frankfort,  play- 
ing the  piano  part  of  Beethoven's  Quintet. 
From  Frankfort  he  went  to  Mannheim,  where 
he  studied  with  Mine.  Heinfelter  and  Vincenz 
Lachner.  In  185 1  he  made  a  concert  tour  in 
Rhenish  Bavaria,  with  the  celebrated  violin- 
ist, Therese  Milanolo,  and  in  1852  went  to 
London,  remaining  there  two  years.  He  then 
(1S54)  came  to  the  United  States,  and  soon 
after  took  up  his  residence  at  Philadelphia, 
where  he  held  a  leading  position  in  musical 
circles.  In  1856  he  made  a  concert  tour 
throughout  the  States  with  Theodore  Thomas, 
in  conjunction  with  whom  he  for  several  years 
conducted  a  series  of  chamber  concerts  in 
Philadelphia.  His  first  public  appearance  in 
New  York  was  early  in  1865,  when  he 
achieved  a  great  success  and  was  received 
with  more  than  ordinary  favor.  He  organized 
the  Beethoven  Society  of  Philadelphia  in  1869, 
which  is  still  flourishing,  and  on  the  occasion 
of  the  Beethoven  Centennial  Festival,  Dec. 
17,  1870,  made  his  debut  as  an  orchestral  con- 
ductor. After  giving  two  seasons  of  symphony 
concerts  he  was  obliged  to  suspend  them  on 
account  of  insufficient  support.  In  the  fall  of 
1873,  upon  invitation,  he  removed  to  Chicago, 
which  has  since  been  his  place  of  residence. 
Shortly  after  his  removal  lie  organized  a  Bee- 
thoven Society  similar  to  the  one  in  Philadel- 


phia, which  has  given  excellent  performances 
of  important  works. 

Mr.  Wolfsohn  ranks  among  the  leading  ar- 
tists of  this  country,  having  a  ^wz  technique 
and  at  once  entering  into  the  spirit  of  the 
work,  which  he  impresses  upon  each  person 
of  his  audience.  He  is  especially  happy  as  an 
interpreter  of  Beethoven's  sonatas,  the  entire 
series  of  which  (33  in  number)  he  has  thrice 
played  in  public.  He  has  also  given  numer- 
ous recitals  from  the  works  of  Chopin,  Schu- 
mann, and  other  great  composers.  As  a  com- 
poser he  has  not  been  very  active.  His  pro- 
ductions consist  of  a  transcription  of  airs  from 
"Faust,"  a  "Valse  de  Concert,"  numerous 
melodies  for  the  violin,  several  concertos  for 
piano  and  strings,  and  some  songs  and  piano 
pieces,  in  all  of  which  the  hand  of  the  musi- 
cian may  be  traced. 

Wollenliaupt,  Hermann  Adolph,  pi- 
anist and  composer,  was  born  Sep.  27,  1827, 
at  Schkenditz,  Saxony.  He  studied  under 
Julius  Knorr  and  Hauptmann,  and  in  1845 
came  to  the  United  States,  locating  at  New 
York.  On  various  occasions  he  appeared  as 
pianist  at  the  Philharmonic  and  other  con- 
certs, and  came  to  be  highly  esteemed  both 
as  a  teacher  and  as  a  composer.  His  compo- 
sitions are  chiefly  for  the  piano,  and  being 
written  with  more  than  usual  care  and  taste 
have  proved  useful  for  teaching  purposes. 
Many  of  them  have  been  republished  in 
Europe,  making  his  name  respected  wherever 
known.  He  died  at  New  York,  Sep.  18, 
1S63.  The  following  is  a  partial  list  of  his 
works  : 

Whispering  Winds;  Souvenir  et  Salut,  an- 
dante and  etude  (op.  7);  Belinda-Polka  and 
Iris-Polka,  2  nos.  (op.  8);  Warrior's  Joy 
March,  impromptu  (op.  9);  Polka  cli  Bravura 
(op.  10);  La  Rose  and  La  Violet,  two  polkas 
(op.  14);  Nocturne  (op.  15);  La  Campanella, 
etude  de  concert  (op.  16);  Morceau  en  forme 
d'etude  (op.  22);  Deux  polkas  de  salon,  No. 
1,  L'Hirondelle,  No.  2,  La  Gazelle  (op.  23); 
Galop  di  Bravura  (op.  24);  Le  Ruisseau, 
valse  etude  (op.  25);  Helene,  valse  brilliant 
(op.  26);  Deux  morceaux  de  salon,  No.  1. 
Mazurka,  No.  2,  Valse  Styrienne  (op.  27); 
Mazeppa,  galop  'le  concert,  also  arranged  for 
4  hands  (op.  43);  Andante,  elegique  (op.  45); 
Fantasia,  "II  Trovatore"  (op.  46);  Grand 
Valse  Styrienne  (op.  47);    Stories  of  Nocomis, 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


four  morceaux  caracteristiqiies,  for  4hantls 
(op.  48);  A  Bord  de  l'Arago,  valse  brilliant 
(°P-  33)'  Sweetest  Smile,  polka  (op.  49); 
Sparkling  Diamonds,  mazourka  fantastique 
(op.  53);  Song  of  the  Syrens,  valse  brilliant 
(op.  54);  Star  Spangled  Banner,  paraphrase 
brilliant  (op.  60);  German  March;  Fleurs  de 
Paradis,  tnorceau  de  salon ;  Deceitful  Birds, 
soprano  or  alto  voice  ;  Wanderer's  Musings, 
soprano  or  alto. 

Woodbury,  Isaac  Baker,  was  horn 
Oct.  iS,  iSio,  at  Beverly,  Mass.  At  an  early 
age    be    was    apprenticed    to  the  blacksmith's 

trade  at  Boston,  learning  musie  in  his  spare 
moments.  In  1839  he  joined  a  traveling 
vocal  company,  the  "May  State  Glee  Club," 
which  gave  performances  in  various  New  Eng- 
land towns.  In  1S51  he  visited  Europe  for 
the  purpose  of  study,  and  after  his  return  set- 
tled at  New  York,  becoming  actively  e>. 
in  composing  and  in  editing  various  collec- 
tions of  church  and  Sabbath  school  music. 
He  was  also  well-known  as  a  conductor  of 
conventions,  and  was  connected  with  several 
musical  papers  as  editor  or  contributor.  His 
music  is  fresh  and  sparkling,  and  was  quite 
popular  in  its  day.  Many  of  his  church  tunes 
are  now  in  general  use,  among  which  are 
"Rakem,"  "Eucharist,"  "S.  lena,"  "Tamar," 
"Ozrem,"  and  "Siloam."  He  died  at  Colum- 
bia, S.  C.,  Oct.  26,  1858,  at  the  age  of  thirty- 
nine. 

"Work,  Henry  C,  composer  of  popular 
songs,  was  born  Oct.  1,  1832,  at  Middletown, 
Conn.,  and  was  of  Scottish  descent.  When  he 
was  but  an  infant  his  father  removed  to  Illi- 
nois, where  his  early  years  were  spent.  To 
his  attendance  upon  the  primitive  camp- 
meetings  "out  West"  his  first  musical  impres- 
sions are  due.  When  he  had  arrived  at  the 
age  of  fourteen  years,  the  family  returned  to 
Connecticut,  and  it  was  decided  that  Henry 
■  must  learn  some  trade.  He  was  accordingly 
apprenticed  to  the  printing  business.  During 
every  spare  moment  he  busied  himself  in 
studying  such  works  on  harmony  as  it  was 
possible  for  him  to  secure,  and  finally  he  ven- 
tured to  compose  a  song,  which  he  called 
"We  are  (Joining,  Sister  Mary."  This  he 
submitted  to  Edwin  1'.  Christy,  of  minstrel 
fame,  who  was  so  well  pleased  with  it  that  he 
sang  it  at  his  conceits.  It  was  afterwards 
published  by  Firth,  Fond  &  Co.  of  New  York. 


He  wrote  some  other  songs,  hut  becoming  dis- 
satisfied with  his  own    productions,  he  ceased 

to  compose  f>r  sever.,'  years.  In  1861  ap- 
peared "  Brave  Boys  are  They,"  the  first  of  a 
series  of  war  songs,  which  includes  "King- 
dom Coming,"  "Wake,Nicodemus,"  "Giafted 
int..  the  Army,"  "Babylon  is  Fallen,"  "Song 
of  a  Thousand  Years,"  "God  Save  the  Na- 
tion," and  "Marching  Through  Georgia." 
1  The  last  named,  written  during  the  wintei  of 
1864-65,  is  alone  sufficient  to  perpetuate  the 
name  of  its  author,  and  is  fast  becoming  a  na- 
tional melody.  In  1S65  he  took  a  trip  to 
Europe,  and  after  his  return  bought,  with  his 
brother,  several  hundred  acres  of  land  at 
Vineland,  N.  J.,  with  a  view  of  establishing  a 
fruit  farm,  but  the  investment  proved  an  un- 
profitable one.  Ilissongs,  among  which  must 
be  mentioned  the  famous  temperance  one, 
"Come  Home,  Father,"  were  principally 
published  by  Root  &  Cady,  Chicago,  but  his 
contract  with  them  was  dissolved  by  the  great 
Chicago  fire  of  October,  1S71.  For  several 
years  more  he  ceased  to  write,  and  then  came 
before  the  public  again  with  "The  Magic 
Veil,"  "Sweet  Echo  Dell,"  "Grandfather's 
Clock,"  and  equally  popular  songs.  "Grand- 
father's Clock"  was  first  sung  by  Sam  Lucas 
in  New  Haven,  and  has  had  a  circulation  at- 
tained by  few  pieces.  Among  his  other  songs, 
which  number  nearly  four  score,  may  be  men- 
tioned "Shadows  on  the  Floor,"  "Mac 
O'Macorkity,"  "California  bird  Song,"  (Pity 
me,  Loo  !  ),  "King  Bibler's  Army,"  "The 
Eire  Bells  are  Ringing,"  and  "Used-up  Joe" 
(comic).  Mr.  Work  was  not  a  professional 
musician,  and  hence  did  not  develope  his 
talents  as  he  might  otherwise  have  clone. 
While  composing  he  generally  sought  a  quiet, 
retired  place  somewhere  in  the  country.  He 
died  at  Hartford,  Conn.,  June  S,  1SS4. 

Wyillllll,  ADKISON  P.,  was  born  at  Cor- 
nish, N.  H,,  June  23,  1832.  He  early  learned 
the  violin,  and  taught  both  vocal  and  instru- 
mental music.  In  1S59  he  was  employed  at 
Wheeling,  W.  Ya.,  and  in  1867  opened  a 
music  school  at  Claremont,  N.  H.  He 
became  widely  known  as  a  teacher  and  com- 
poser. His  death  occurred  at  Washington, 
Pa.,  April  15,  1872,  and  the  remains  were 
interred  at  his  native  place.  Anne  E.,  his 
wife,  who  died  at  boston,  Sep.  24,  1871,  was 
a  fail  soprano  singer.     Mr.  Wyman's  compo- 


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1 79 


6itions  are  chiefly  for  (he  piano,  and  some  of 
them  attained  a  wonderful  popularity,  which 
is  not  yet  exhausted.  Among  them  may  be 
mentioned  "Silvery  Waves,"  "Woodland 
Echoes,"  "Music  Among  the  Pines,"  "Wed- 
ding  Bells  March,"  "Fairy  Visions,"  "Song 
of  the  Skylark,"    "Evening    Parade   March," 


"Moonlight  Musings,"  and  others.  It  is  said 
that  "Silvery  Waves."  which  has  already 
sold  to  the  extent  of  nearly  1,000,000  copies, 
was  retained  by  Messrs,  S.  Brainard's  Sons, 
the  music-publishers,  for  two  years  before 
it  was  issued,  so  fearful  were  they  that  it 
would  not  prove  profitable; 


Yankee  Doodle.  An  American  nation- 
al melody  written,  curious  as  it  may  seem,  by 
an  Englishman.  The  .  circumstances  of  its 
origin  are  as  follows  :  In  the  summer  of  1775 
the  British  army,  under  the  command  of  Aber- 
crombie,  lay  encamped  on  the  east  bank  of 
the  Hudson,  a  little  south  of  Albany,  awaiting 
reinforcements  of  militia  from  the  Eastern 
States,  before  beginning  the  campaign  against 
the  French.  As  company  after  company  of 
the  raw  levies  poured  into  camp  during  the 
month  of  June,  each  man  differently  armed 
and  dressed  from  his  neighbor,  the  scene  was 
one  to  excite  the  mirth  of  a  deacon.  Their 
appearance  was  never  equaled,  except,  per- 
haps, by  the  famous  regiment  of  Sir  fohn 
Falstaff.  Among  the  British  was  a  certain  Dr. 
Shackburg  or  Shamburg,  a  surgeon,  who,  it 
seems,  was  also  somewhat  of  a  musician. 
He  arranged  the  tune  of  Yankee  Doodle  to 
words  of  his  own  writing  and  dedicated  it  to 
the  new  comers.  The  joke  took  immensely 
and  the  tune  thus  passed  to  a  permanent  place 
in  history. 

Yankee  Doodle  was  not  original  with  Dr. 
Shackburg.  John  W.  Moore,  in  his  "Ency- 
clopaedia   of    Music"     (article  "Song"),    says 


that  the  tune  can  be  traced  back  to  the  time 
of  Charles  I.  There  are  two  or  three  more 
ancient  melodies  closely  resembling  it,  and 
>  undoubtedly  Dr.  Shackburg  did  nothing  more 
!  than  arrange  it  to  suit  his  own  purpose.  Dur- 
!  ing  its  somewhat  extended  existence,  it  has 
j  been  fitted  with  many  different  sets  of  words. 
In  England  (me  set  of  words  began  with — 
"The  Roundheads  and  Cavaliers,"  and  anoth- 
er with  "Nankee  Doodle  came  to  town." 
In  the  United  States  there  was  a  set  which 
!  started  off  like  this  :  "Lucy  Locket  lost  her 
pocket."  At  a  later  period  the  lories  had 
one,  of  which  the  first  line  was — "Yankee 
Doodle  came  to  town."  Francis  Hopkinson 
of  Philadelphia  also  wrote  a  set  entitled  "Bat- 
tle of  the  Kegs."  While  the  British  ships 
were  stationed  in  the  Delaware  river,  in 
December,  1777,  David  Bush nell  prepared  a 
large  number  of  kegs  of  powder  so  arranged 
that  they  would  explode  on  reaching  the  fleet. 
They  were,  however,  dispersed  by  the  ice 
and  prematurely  exploded.  But  the  British 
were  effectually  aroused,  and  for  many  hours 
kept  up  a  firing  at  every  dark  object  in  the 
river.  We  herewith  give  the  melody  and 
the    words    of   Dr.    Shackburg  : 


i  So 


HANDBOOK    OF    AMERICAN    MUSIC    AND    MUSICIANS. 


-VA-WU, 


o-@ 


■IZTJt 


feg£M^ 


I.      Father  and   I   went  down  to  crnip, 
Along  with  Captain  Goodwin, 
And  there  we  saw  the  men  and  Loys 
As  thick  as  hasty  pudding. 

Refrain  or  Chorus — 

Yankee  Doodle  keep  it  up, 
Yankee  Doodle  dandy  ; 
Mind  the  music  and  the  step, 
And  with  the  girls  be  handy. 


And  there  was  Captain  Washington 

Upon  a  slapping  stallion  ; 
And  giving  orders  to  his  men, 

1  guess  there  was  a  million. 
And  then  the  feathers  on  his  hat, 

They  looked  so  tarnal  liney, 
I  wanted  peskily  to  get 

And  give  to  my  Jemima. 
And   there  they  had  a  swamping   gun 

As  big  r.s  a  log  of  maple, 
On  a  deuced  little  ear  , 

A  load  for  father's  cattle. 
Ar.d  every  time  they  fired  it  off 

It  took  a  horn  of  powder; 
It  made  a  noise  like  father's  gun, 

Only  a  nation  louder. 
I  went  ,v  near  to  it  myself 

As  Jacob's  underpinnin', 
And  father  went  as  near  again  — 

I  thought  the  deuce  was  in  him. 
(It  scared  me  so  I  ran  the  streets, 

Nor  stopped,  as  I  remember, 
Till  I  got  home,  and  safely  locked 

In  granny's  l.ttle  chamber.) 
And  there  1  see  a  little  keg, 

Its  heads  were  made  of  leather, 
They  knocked   upon't  with   little  sticks 

To  call  the  folks  together. 
And  there  they'd  fife  away  like  fun, 

And  play  on  corn-stalk  fiddles: 
And  seme  had  ribbons  red  as  blood 

All  bound  around  their  middles. 
The  troopers,  too,  would  gallop  up, 

And  fire  right  in  our  faces; 
It  scared  me  almost  half  to  death 

To  see  them  run  such  races. 
Uncle  Sam  came  thereto  change 

Some  pancakes  and  some  onions 
For  'lasses  cakes  to  carry  home 

To  give  his  wife  and  young  ones. 
But  I  can't  tell  you  half  I  see, 

They  kept  up  such  a  smother; 
So  I  took  my  hat  off,  made  a  bow, 

And  scampered  home  to  mother. 


z. 


Zenobia.  A  grand  opeia  in  four  acts. 
Both  the  libretto,  the  themes  of  which  are 
taken  from  Ware's  well-known  work,  ami  the 
music  are  by  Silas  G.  Pratt.  It  was  begun  in 
1878,  and  first  produced,  in  concert  form,  at 
Chicago,  June  15  and  16,  18S2.  Its  fiist  pro- 
duction on  the  stage  was  at  McVicker's  The- 
atre, Chicago,  March  26,  18S3,  with  Miss  Dora 
Henninges  in  the  title  role.  In  spite  of  several 
drawbacks,  one  of  which  was  the  illness  of 
the  soprano,  it  was  fairly  well  received,  and 
more  interest  manifested  in  it  than  in  any  sim- 
ilar American  work.  After  a  week's  repre- 
sentation it  was  withdrawn.  The  opera  con- 
tains several  very  fine  numbers. 

Zerralm,  Carl,  was  bom  at  Malchow, 
Mecklenburg-Schwerin,  Germany,  July  28, 
1826.  He  began  the  study  of  music  at  an 
early  age  under  the  care  of  a  teacher  of  his 
native  town-  From  1S41  to  1845  ^le  studied 
with  I.  F.  Weber  of  Rostoch,  in  1846  at  Han- 
over, and  during  1846  and  1847  at  Berlin.  In 
184S  he  came  to  the  United  States  with  the 
famous  Germania  Orchestra  (see  GERMANIA 
Orchestra),  of  which  he  remained  a  member 
until  its  dissolution  in  1854.  He  conducted  a 
series  of  six  subscription  concerts  in  1855,  with 
an  orchestra  of  fifty-four  players.  Two  years 
later  he  began  the  Philharmonic  concerts,  the 
programs  of  which  were  of  unusually  high 
order,  and  which  were  continued  until  1S63. 
In  1866  the  Harvard  Musical  Association  re- 
solved to  take  up  the  work  thus  dropped,  anil 
Mr.  Zerralm  was  appointed  conductor  of  the 
symphony  concerts,  a  post  which  he  ably  filled 
and  which  he  retained  during  the  sixteen 
years  they  were  continued.  In  1882  he  became 
leader  of  the  Philharmonic  Orchestra,  then  a 
recent  organization.  Besides  his  duties  as  j 
conductor  in  Boston,  he  also  conducts  several 
societies  in  various  cities  and  towns  of  Massa-  [ 
chusetts.  Much  of  the  musical  success  of  the 
two  great  Peace  Jubilees  held  in  Boston  was  [ 
d.ue  to  his  energy  and  ability.  In  1877  he  was  I 
called  to  San  Francisco  to  take  charge  of  the  1 
musical  festival  held  there  during  that  year, 
which    made    his  reputation    a  thoroughly  na- 


tional one.  Mr.  Zerrahn  is  a  good  musician, 
and  as  a  conductor  deservedly  occupies  the 
foremost  rank.  For  many  years  he  has  been 
a  resident  of  Boston,  where  his  efforts  for  the 
advancement  of  music  are  fully  appreciated. 
As  a  gentleman  lie  is  highly  esteemed  by  all 
who  know  him. 

Zeuner,  Charles,  organist  and  compo- 
ser, was  bom  at  Eisleben,  nearGotha,  Saxony, 
Sept.  20,  T795,  and  baptised  as  HEINRICH 
Christopher  Zeuner,  but  seems  to  have 
changed  his  given  name  on  coming  to  the 
United  States,  which  he  did  in  1824.  He 
took  up  his  residence  at  Boston,  where  he 
came  to  be  highly  esteemed.  In  1S39  he  pub- 
lished "The  American  Harp,"  containing  400 
pages.  His  oratorio  of  "Feast  of  Taberna- 
cles" was  published  in  1832,  at  which  lime 
he  was  organist  of  Park  Street  Church,  presi- 
dent of  the  Musical  Professional  Society,  and 
organist  of  the  Handel  and  Haydn  Society. 
The  latter  position  he  held  from  1830  to  1837. 
His  second  important  book,  "Ancient  Lyre," 
contained  364  pages  and  was  published  in 
1848.  Besides  preparing  several  works  him- 
self, he  wrote  much  music  for  the  publications 
of  other  authors.  In  1854  he  removed  from 
Boston  to  Philadelphia,  where  he  was  first 
organist  of  St.  Andrew's  Episcopal  Church, 
and  subsequently  of  the  Arch  Street  Presby- 
terian Church.  For  several  years  he  exhibited 
symptoms  of  insanity,  but  they  were  not 
thought  to  be  serious.  On  Saturday,  Nov.  7, 
1857,  he  left  his  boarding  place  and  proceeded 
to  West  Philadelphia.  The  same  day  his 
body  was  found  in  Smith's  woods  with  the 
head  shattered  by  a  gun.  It  was  evident  that 
he  had  committed  suicide.  Mr.  Zeuner  was 
an  excellent  musician  and  respected  by  all 
who  knew  him. 

Ziegfeltl,  Dr.  Florf.ns,  one  of  Ameri- 
ca's most  prominent  musical  educators,  was 
born  at  Jever,  near  the  sea  coast  in  the  Grand 
Duchy  of  Oldenburg,  Germany,  June  10,  1841. 
His  father,  an  official  in  the  court  of  the  grand 
duke,  was  passionately  fond  of  music,  and  in 
him  this  same  passion  early  developed.    When 


HANDBOOK    OF   AMERICAN    MUSIC   AND   MUSICIANS. 


six  years  of  age  he  took  his  first  piano  lessons. 
Under  the  care  of  the  best  teachers  he  made 
very  rapid  progress,  and  at  the  age  of  ten 
played  in  both  public  and  private  concerts.  : 
Through  excessive  study  his  health  became  ! 
undermined,  and  at  the  age  of  fifteen  he  came 
to  New  York  to  visit  a  brother  there.  In  1859 
he  returned  to  Germany  to  finish  his  musical 
education.  He  entered  the  Consefvatorium 
at  Leipzig,  where  for  several  years  he  studied 
under  Moscheles,  Richter,  Plaidy,  Wenzel, 
David,  Papperitz,  and  others.  In  1S63  he  re- 
ceived a  flattering  offer  to  go  to  Russia  and 
take  charge  of  a  large  conservatory  there,  but 
declined,  having  already  decided  to  make  the 
United  States  his  future  home,  lie  arrived 
here  for  the  second  lime  in  1S63,  and  in 
November  settled  in  Chicago  as  teacher  of 
music.  In  1S67,  under  the  name  of  the  Chica- 
go Academy  of  Music,  he  laid  the  foundation 
of  the  Chicago  Musical  College  (see- article 
Chicago).  In  186S  he  gave  his  first  concert  | 
with  his  pupils  in  Crosby's  Opera  House, 
with  great  success.  Such  was  the  success  of 
the  school  that  in  the  fall  of  1871  it  occupied  ; 
the  entire  building  at  No.  253  Wabash  Ave- 
nue. The  great  fire  of  that  year  swept  away 
everything.  Within  two  months,  however,  ' 
the  indomitable  Doctor  had  re-opened  the 
school  under  its  present  name.  Dr.  Ziegfeld  j 
went  to  Europe  in  the  interests  of  the  Peace 
Jubilee,  and  his  acquaintance  with  eminent 
musicians  abroad  enabled  him  to  secure  many  | 
attractions.  With  Liszt,  Wagner,  and  others, 
he  maintained  a  correspondence  more  or  less  I 
extensive.  Since  settling  in  Chicago,  he  has 
visited  Europe  eleven  times,  occasionally  ac- 
companied by  some  of  his  pupils.  Dr.  Zieg- 
feld is  a  true  artist  and  musician,  and  one  of 
which  this  country  may  well  be  proud.  As 
he  is  yet  in  the  prime  of  life,  he  will  probably 
live  to  accomplish  much  more  for  his  chosen 
art. 

Zlllltlf'l,  John,  was  born  in  1S15,  atHoch- 
dorf,  near  Stuttgart,  Germany,  and  received  his 
first  musical  education  at  the  Royal  Academy 
of  Esslingen,  Wurtemburg,  where  he  remained 
from  1829  to  1831.  In  1833  he  received  the  ap-  I 
pointment  of  teacher  of  music  in  a  seminary 
at  Esslingen,  at  the  same  time  studying  the  vio- 


lin under  a  pupil  of  Molique.     Upon   the  ad- 
vice of  E.  F.  Walcker,   the  organ  builder,   he 
relinquished    that    instrument  for    the    organ, 
taking    lessons    first  of  J.  G.  French   and  sub- 
sequently of  11.  Rinek  at  Darmstadt.      In  1840 
he  went  to  St.  Petersburg   for    the    purpose  of 
giving  a  concert  on   one  of  Walcker's  organs. 
Circumstances  led  him  to  temporarily  take  up 
his  residence  at  St.  Petersburg  as  organist  and 
teacher.     Through  the  representations  of  sev- 
eral   Americans    who    resided   at  the  Russian 
capital,  he  was  induced  to  come  to  the  United 
Slates,   and    landed    at  New  York  in  October, 
1S47.      At  first    he    met    with  no  success  and. 
discouraged,    was    about    to   return  to  Russia, 
when  he  was  persuaded  to  remain  by  Scharfen- 
berg  &  Louis,  music-publishers  of  New  York. 
In    1848    he    was    engaged    as  organist  of  the 
Unitarian  Church  (Dr.  Farnley's),  Brooklyn, 
and  in  1850  of  Plymouth  Church.      The  latter 
,  position    he    held    until    1SC5,    excepting   the 
>  years  1856  and  1857,  when  he  was  organist  of 
\  Dr.  Tyng's  church  and   for  the  second  time  of 
,  Dr.    Farnley's,    Brooklyn.      In    1S65    he  went 
i  to    Europe,    seeking    restoration  of  his  wife's 
health,    and  remained  abroad   two  years.      On 
returning  he  resumed  his  duties  at  Plymouth 
Church,  which  he  continued  to  discharge  until 
1878,    when   he   again  went   to  Europe.     He 
I  died    (according  to  David    Baptie)   at    Cann- 
1  stadt,    Germany,    in    July,    1SS2.     Before  de- 
parting  he   was  presented  with  a  substantial 
token  in  recognition   of  his  long  and  valuable 
services,  by  the  members  of  the  church. 

Mr.  Zundel's  principal  works  are  as  follows  : 

1.  250  Voluntaries  and  Interludes. 

2.  A  melodeon  instructor. 

3.  The  Amateur  Organist,  a  collection  of  vol- 
untaries, etc. 

4.  Concert  Variations,  for  the  organ. 
c;.   Six  Voluntaries. 

6.  444  Interludes  and  Voluntaries. 

7.  The  First  Year  at  the  Organ. 

8.  Grand   Festival   March. 
<>.  Christian    Heart    Songs.     Original    tunes 

and  anthems. 

10.  Introitas  Anthem. 

11.  The  School   Harmonist. 

12.  (band  Te  Deum   Laudamus. 

13.  Beyond   the   Smiling.      Solo  and   quartet. 

14.  Be   Still,   0  Heart.       Mezzo-soprano    and 
quartet. 

15.  Treatise    on    Harmony    and   Modulation. 


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list  of  our  largest 
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